ABSTRACT
The issues are divided into two sections. The first is on converting Cineon log film scans to linear for working in a linear compositing environment, which most studios do. The second section addresses the issues of how to perform acts of compositing, color correction, and screen operations with log images. There are also procedures on how to incorporate linear images such as matte paintings and cgi into log composites. For artists already using Cineon software to do log compositing, the explanations and procedures will mostly explain why Cineon works the way it does. For those who would work in log space without using Cineon software, step-by-step procedures are offered on how it is done.
