CineonLog

CineonLog [Log] converts an image transfer curve inside Fusion. Use Log to Lin to decode a correctly identified camera/film log signal for linear-light compositing; use Lin to Log to encode a linear result for a known log delivery pipeline. It is not an automatic look or a creative LUT.

The archived Controls capture shows Depth, Mode, a curve plot, Log Type, Lock R/G/B, Level (Black/White), Soft Clip (Knee), Film Stock Gamma, Conversion Gamma, and Conversion Table/Browse. These captures confirm visible controls, not pixel-perfect rendering in a given Resolve release.

Mode selects direction. Log to Lin requires actual footage encoded in the selected log curve; Lin to Log requires an actual linear input. A forward/reverse pair does not create more dynamic range: it decodes and re-encodes the values supplied.

Log Type chooses a transfer characteristic, not an entire camera color pipeline. The preserved dropdown visibly lists Bypass, Cineon, Josh Pines, ACESlog, Apple Log, ARRI LogC, BMD Film, Canon-Log, DaVinci Intermediate, Nikon N-Log, Panalog, Panasonic V-Log, RED Log3G10, RED log Film, and Sony S-Log. The menu scrolls; do not treat these as an exhaustive live-version inventory.

A log curve is not the same as a color gamut. Selecting ARRI LogC or DaVinci Intermediate here does not prove automatic conversion of ARRI Wide Gamut or DaVinci Wide Gamut, white point, or gamut mapping. Use a properly configured CST, Gamut, ACES or OCIO stage where a full color-space conversion is required.

Depth offers Keep, Auto, int8, int16, float16 and float32 in the bundled screenshot. Auto follows the format/context, Keep retains the incoming representation, integer choices are quantized, and floating-point choices accommodate a wider range. Integer processing risks clipping extended linear-light values.

Lock R/G/B links channel-level conversion controls. Keep RGB linked as a starting point; independent channel response is a deliberate technical adjustment, not a substitute for proper source color identification or white balance.

The Level Black and White controls define the conversion reference levels. Log values outside the selected bounds can convert into linear values below 0 or above 1; float math may preserve them while integer modes can clip them. 95 and 685 in the screenshot are illustrative state, not universal camera settings.

Soft Clip (Knee) reshapes the transfer curve near bounds. It cannot reconstruct clipped scene information. Legacy Fusion manuals warn that some Soft Clip settings may force 16-bit integer processing; check contemporary Resolve behavior and HDR values in a native test.

Film Stock Gamma and Conversion Gamma shape the response used for the conversion, most clearly for the Cineon-like calibration path. Avoid tuning them blindly for every camera curve: choose the correct Log Type and inspect which controls are effective in your build.

Conversion Table / Browse accepts a compatible external conversion table (historically documented as an ASCII LUT). Do not confuse this with the general Resolve 3D LUT workflow. Verify file syntax and applicability before putting a custom table into production.

The current article inventory exposes one 2D image Input and one 2D image Output. Controls screenshots do not document the physical Flow sockets, so this guide does not invent a separate mask socket. The output is not a rendered delivery file.

Color-managed Resolve projects may have already decoded camera log before Fusion. Verify the signal actually arriving at this node to avoid applying Log to Lin twice. Use scopes, known Viewer transforms and a bypass comparison at consistent settings.