It’s still an iPhone with a tiny sensor, so don’t expect the dynamic range of an Arri Alexa or a Sony Venice.

It’s also important to note that log does not mean you’ll never overexpose. Even though Apple has turned their sharpening and tone mapping way down for Apple Log, there’s still some of that telltale overdriving of super-bright, super-saturated colors. You can see this big time if you shoot bright, colorful lights. But Apple Log is not raw, and not even “straight off the sensor.” It’s still heavily processed - denoised, tone-mapped, and color adjusted. With its high bit depth and dynamic range, log footage has many of the benefits of raw.

And this workflow matches what you’re doing with your digital cinema camera already, so you can color-manage this footage right into a timeline with your Canon, Sony, Arri, or whatever else you’ve got.

So you can adjust the color of the footage in a natural and organic way. With log you can pick the look that works for you, and even more importantly. Sure, you can apply LUTs or color grading to regular iPhone footage, but the problem is it already has its own very punchy look baked in.

You pick the LUT! So log footage can look however you want.The power log gives us lies within that extra step, because: If all we’re going to do with log footage is apply a LUT to make it look normal, what’s the big deal? Why add this extra step? Some LUTs add creative looks, others are more utilitarian, converting images from one color space to another - like from log to video. To make log footage look right, you have to color manage it in some way, often with a Look-Up Table, or “LUT.”Ī LUT is just a color adjustment baked into a single file. All the dynamic range and detail are there, but gone is that candy-coated punch.

Free Indies' Lies for iphone instal