I've read a bit of the log-C where there is a common grey point and it allows for extended dynamic range. I may be off the mark but a long time ago dolby audio for cassettes etc... was described simply to me as a preemphasis of high frequencies, where tape hiss exists, and a deemphasis of the highs on playback thereby lowering the tape hiss, a constant, and bring the accentuated high frequencies back to their proper level. Is there any way to look at the log-C or Log-S in a similar manner. I seem to recall Greg H. explaining that the log curves flattened out response in the lows and highs to avoid overexposing or something like that that could then be stretched back out with a lut. I'm probably off on this and I don't claim to have totally wrapped my head around this. Could someone shed some basic linear light on me about this nonlinear log-C etc... recording method.
--- In Avid-L2@yahoogroups.com, Jay Mahavier <jay_mahavier@...> wrote:
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> To begin, LogC and Rec709 are not the same thing. If you want to get more into that then let me know and I'll tell you what I know and point you to a couple of places that you can being to learn more. And by the way, this whole shoot, edit, on-line Log was way easy when we were recording to SR and not doing file based. File based kind of sucks.
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