Cinelog-C Camera Profiles Overview
Cinelog-C Camera Profiles are precision built .dcp profiles for processing your raw images to our scene-referred log colorspace (Cinelog-C) in Adobe® Camera Raw® (aka ACR®) and Lightroom®. Cinelog-C encoded files can be transcoded with any supported codec (minimum 10bit recommended) to produce log masters that are perfect for both archiving and fast color grading and editing without resorting to proxy workflows. When transcoded to high-end codecs such as ProRes XQ, DNxHD/HR 444, Protune etc Cinelog-C files significantly reduce storage requirements yet retain huge raw-like latitude compared to the raw source files.
Cinelog-C Camera Profiles are custom built for each camera and provide a clean transform to Cinelog-C colorspace without any tweaks to color and contrast that can otherwise compound color errors later in the pipeline.
The transform to Cinelog-C gamut is not static but is dynamically calculated relative to the selected color temperature and tint offsets (white balance) while the image is still raw i.e. if you change white balance in ACR® or Lightroom® the transform to Cinelog-C will be instantly recalculated to produce the most accurate solution for the chosen white balance settings.
The transform to Cinelog-C acts as a transient form of compression until it is transcoded. This retains the full dynamic range and color of your images without clipping and without requiring any user adjustments to shadows,highlights and other controls that can otherwise invoke image adaptive flicker.
Cinelog-C colorspace is defined by a set of virtual RGB primaries in radiometrically linear XYZ space (linear to light). This produces images that, although initially appearing very flat and desaturated (due to the much smaller gamut of your display), retain all the color and dynamic range of the raw images. This is fundamentally different to the typical display-referred processing in ACR® and Lightroom®.
The transform to Cinelog-C passes the image data cleanly to the host application (After Effects®, Photoshop®, Lightroom®) without requiring any further modification. Pixels remain in a raw-like state until transcoded so that applying the exact inverse log2lin transfer function (using the Cinelog OpenColorIO config) after import into After Effects® (in 32bit float workspace) will produce a virtually lossless conversion to scene-referred linear with pixel values far exceeding 1.0f.
Cinelog-C Profiles make possible an ACES workflow that includes scene-referred linear raw image processing in Adobe® Camera Raw® without the creative intent or display-referred limitations of Adobe®’s ICC color management.
Other key benefits of Cinelog-C Camera Profiles:
Provides a scene-referred linear solution (not linear gamma) for images processed by Adobe® Camera Raw® and Lightroom
Grayscale remains neutral
Can provide significant storage savings compared to the raw source materials
Behaves similar to films response to light
Easy to grade files using basic contrast, offset and saturation controls
Proxy free workflow
Huge latitude for grading, especially when transcoded to ProRes HQ, DNxHR, Protune 4444 codecs
Can be used as part of an ACES workflow in Adobe® After Effects®/Photoshop® or ACES compatible apps
Extensive OpenColorIO configuration for additional colorspace conversion or applying looks/luts
Uniquely compatible with Cinelog Enhanced Profiles in Adobe® Camera Raw®/Lightroom®
14bit coded log transform minimizing Adobe Camera Raw® interpolation
Creative intent color choices are not imposed
Adobe® Camera Raw®’s maximum highlight reconstruction capabilities are always leveraged
Used by award winning animation studios and film productions
Arguably the highest quality log conversion compared to other applications