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Shooting LOG Profiles | Unlocking Your Creativity In Video

By Wendell Weithers on January 6th 2018

In any field, especially video work, you need to find an edge; a way to stand out in a world full of visual storytellers. If you’re just getting started, you’re playing catch up because where your fellow creatives have had access to powerful tools and techniques that create stunning imagery for some time.

Fortunately for you, you have access to many of these same tools and techniques. You only need to maximize your use of them and your camera may already have one important feature: LOG profiles. Matt from Travels Feels explains the usefulness of shooting in a LOG profile and how it can help unlock your creative freedom when capturing video.

Shooting in a LOG profile provides you with more aesthetic flexibility when editing your footage. It gives you access to a greater dynamic range, allowing you to retain more details in your highlights and shadows. You’ll also be also to color an image to your personal taste and even mimic big-budget cinematic looks.

Your standard image simply profile doesn’t have this flexibility. Its similar to the limitations you face editing a low-resolution JPEG versus a RAW image file. It just doesn’t have the information to allow you to make the edits you envision.

And, given the high level of content available, this is something you can’t ignore. Even if it’s something you don’t always use, shooting in a LOG profile is in the “need-to-know” category for video work moving forward. Why? It makes your footage look better and “better” helps you get paid.

Cameras WITH LOG PRofiles for $2,000 or less.


Panasonic GH4$1,597 sale price ($997.99)
Panasonic GH5 – $1,997.99


Fuji X-T2$1,599 sale price ($1,499)


Sony a6300$898 sale price ($748)
Sony a6500$1,398.00 sale price ($1,198)
Sony A7II$1,598 sale price ($1,298)
Sony A7s – $1,998

Find more from TravelFeels here.

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Wendell is based in Atlanta where he shoots events, portraits, and food photography. He also supports his wife Andrea as she runs their cake design business, Sweet Details.

Instagram: Wendellwphoto

Q&A Discussions

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  1. lee christiansen

    Shooting non-RAW is not like shooting low res JPEG.  It is like shooting hi-res JPEG. 

    Whilst there are certianly benefits to shooting RAW, unless the editor/grader knows what they are doing and have a calibrated monitor (for TV and not for photos), then the advantage is often lost.

    Quality cameras that don’t offer RAW have a rather useful knee curve which can be tweaked to pull out quite considerable extras in DR.  Shooting in RAW doesn’t allow this when shooting and so requires it in post.

    The problem we have is that people are comparing video shooting embedded profiles on a DSLR, with shooting RAW video on a DSLR and of course here there are great differences.

    But let me shoot with my PMW-500 (no RAW option), and you’ll see a big DR range and one that I can extend considerably.  (With the benefit of 20+ years as a DoP behind me… :) )

    Don’t get me wrong, if I’m shooting a bigger budget project and working with a grader who knows his stuff with a aquality facility then I’ll be happily shooting RAW, but anything less and I’ll be chosing embedded footage and still giving the editor plenty of data to push and pull.

    RAW shooting is only as good as the grading capability in post.  Merely adding a LUT in post is just like shooting embedded.  To get the benefits, we need to have a complete and quality post solution.

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