What is a Log gamma curve?

Log encodings (S-Log3, LogC, V-Log…) store a wide dynamic range in a limited number of bits by distributing tones logarithmically. Footage looks flat/desaturated and must be converted (LUT or ACES IDT) to a display space like Rec.709 for viewing.

ACES is a color-managed pipeline: each camera's footage enters via an Input Transform (IDT) into a common wide-gamut linear space, you grade there, and an Output Transform (ODT/RRT) maps to Rec.709, P3 or HDR for delivery.

Home / Color & Log

Reference

Color & Log cheat-sheet

Pick your camera's Log format to see its gamut, ACES Input Transform and how to get to Rec.709 — plus a primer on color spaces and ACES below.

CIE 1931 — gamut comparison

Interactive

Toggle gamuts to compare what each color space can reproduce. The outer "horseshoe" is everything the human eye sees; each polygon is a working/display gamut.

Log curves — visual comparison

Interactive

Each curve maps scene-linear light (x) to a recorded code value (y). Steeper rise above 18% grey = more dynamic range stored above mid-grey. Linear (grey diagonal) and Rec.709 gamma are shown for reference.

Display color spaces (quick reference)

Space	Gamut	Transfer / EOTF	Used for
Rec.709	BT.709	BT.1886 (≈ 2.4)	HD SDR TV & web
sRGB	BT.709	sRGB piecewise (≈ 2.2)	Computer monitors
DCI-P3 (D65)	P3	Gamma 2.6 (DCI) / 2.2 (display)	Cinema, modern wide-gamut screens
Rec.2020 PQ (HDR10)	BT.2020	PQ — ST 2084	HDR streaming, mastering
Rec.2020 HLG	BT.2020	HLG (BT.2100)	HDR broadcast — SDR-compatible
ACEScg (AP1)	AP1	Linear	VFX/CGI grading working space
ACEScc / ACEScct	AP1	Log	ACES grading curve (for color tools)
ACES2065-1	AP0	Linear	ACES archival / interchange master

Conversion cookbook

How to get from camera Log to a delivery space using LUTs, ACES, or Resolve Color Space Transform (CST) nodes.

From	To	Transform / tool

Mini glossary

The ACES idea, in one paragraph

ACES turns "every camera looks different" into one managed pipeline: footage enters through an IDT into ACES (a huge linear gamut, AP0 or working in AP1), you grade in that common space, and an Output Transform (RRT + ODT) renders to Rec.709, P3 or HDR. It keeps multi-camera shows consistent and future-proofs the master.

Log vs RAW

RAW is sensor data (you set white balance/ISO in post). Log is a gamma encoding of already-debayered video that preserves dynamic range. Many RAW formats debayer to a Log space (e.g. Log3G10).

Do I need ACES?

Not always. Single-camera jobs can grade with the camera maker's LUT to Rec.709. ACES shines on multi-camera, VFX-heavy or HDR projects where consistency matters across vendors.