G-LOG Profiles Version 1.2

Fist of all: Thanks to all for that positive feedback and all the brave folks who tried my G-Log profiles. After gaining more understanding what the “color depth” actually does, here are the new profiles for G-Log (1.1).

JUST DID A MINOR UPDATE – Version is 1.2 now

“Color Depth” is quite misleading, since most guys think, it has to do with color saturation (I´m also guilty of that mistake).
That´s not the case as anyone with a vector scope can see – it should be called “Color Brightness” or better “Color Gama” cause that´s what it does.

The next confusing thing is, that the numbers are somewhat backwards.
Smaller numbers make colors brighter and higher numbers make colors darker and more sturated.

So If you want to keep red from clipping, you have to dial it all the way up.

The basic Black level is Zero. For best results, adjust your Black level frome scene to scene, so that it lands a hair over 0 IRE, to avoid posterisation in post.

As before,
G-LOG A: Looks deep into shadows
G-LOG B: Is a bit more on the conservative side.

G-LOG A 1.1:
Black Level: (basic) 0, (controlled = variable)
Gamma Standard
Black Gamma: middle, +7
Knee: 80, -2
Color Mode: ITO709, +8
Color Level -2
Color Phase -7
Color Depth: R+4, G 0, B+4, C+5, M+5, Y+5
WB-Shift: LB-5, CC+2
Detail 0
Manual On
Chrispening 4

Make sure you set your highlights between 85 and 90 IRE on G-LOG A.

G-LOG B 1.1:
Black Level: (basic) 0, (controlled = variable)
Gamma Cinematone1
Black Gamma: High, +7
Knee: 90, +2
Color Mode: Cinematone2, +8
Color Level -2
Color Phase -7
Color Depth: R+4, G +2, B+5, C+5, M+4, Y+5
WB-Shift: LB-5, CC+2
Detail 0
Manual On
Chrispening 4
Have fun,



6 thoughts on “G-LOG Profiles Version 1.2

  1. HI Frank

    I have been using G-Log A version 1 but when I reverse LUT it (I use some Premiere Pro RGB S-Curves on it) I find it’s a bit ‘gritty’ though very filmic. I’m thinking of trying out your G-Log B. I am doing a lot of run and gun and I need all the latitude I can get.

    Do you have a recommendation for the highlight threshold G-LOG B?

    Also do you have a Premiere Pro reverse curve in a preset form you could share with me for these 2 profiles? I have created a few but I’m sure the ‘master’ has better than what I’ve created.

    Thanks for all your great work here.


  2. Interesting new profile. It is quite sweet in daylight and at night. But there is one BIG issue: Blue artificial Lighting gets extremely strong. I ruined some footage that normally works fine: I shoot every week in a street with LED blue lighting. With regular profiles its fine but with this new LOG profile, The blue lighting takes over (faces and all the rest) to a point of non recoverable. Is it because of the + values that use to be negative in the Color Depth settings?
    See a example here:

    • Hi Frank
      I did make the white balance on my WB card using my LED 3200K Light that was lighting the presenter> It gives me a value of 3100K
      I did not see that in the monitor clearly, and noticed it only when I got back to the studio. Like I said i go often to the place to shoot a weekly program with the TV host, and have used the Sony main profile most of the time. I did use Your G Log v 1.0 once and it was great, But now with V 1.2 it does not work any more.
      The only issue that is common with all of your G log profiles (from V1) is that the noise level is pretty high compared to Sony’s default setting. But the skin tone is amazingly more cinematographic with your G log profiles, and it is worth getting more noise i Think. I wonder how the noise level can be improved on G Log.
      Thanks for this fantastic work anyway

  3. Surprising departure from the s log look. I can understand that you are finding that you gain more latitude from the ability to use the black level as a sliding scale, but why the saturation?

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