Cineon Log Node

The Cineon Log node applies a log → lin (or lin → log) conversion curve depending on the mode. Legacy 10-bit Cineon DPX files (negative film scans) store the data as log printing density - to handle them correctly in a linear composite, you first need to linearize them.

At the end of the chain, you apply the inverse log again if you need to deliver a broadcast-ready log DPX file. Modern Resolve workflows often use ACES or Color Space Transform instead, but the Cineon Log node remains essential for legacy pipelines and traditional film scanning.

• Effects Library: Tools > Film > Cineon Log
• Quick add: right-click in the Node Editor → Add Tool > Film > Cineon Log

Linear (Lin)

Values proportional to physical light. The correct space for compositing, blur, color matching. Math operations (addition, multiplication) give physically plausible results.

Logarithmic (Log)

Perceptual encoding: more bits in the shadows and highlights (where the eye tells things apart better), fewer in the midtones. Ideal for storage and transmission (10-bit log ≈ 13-bit linear in perceived quality), but wrong for direct math.

Compositing rule: log → lin on input, process in lin, lin → log on output if a log delivery is required.

• Input (orange) - the 2D image to convert.
• Effect Mask (blue) - optional. Limits the conversion to an area.

Classic film scan workflow:
MediaIn (log DPX) → Cineon Log (Log to Lin)
                 → compositing (Merge, Color Corrector, etc.)
                 → Cineon Log (Lin to Log)
                 → MediaOut (log DPX)

Linearizing for preview only:
MediaIn (log DPX) → Cineon Log (Log to Lin)
                 → Gamut (sRGB) → MediaOut (viewing)

Adapting a custom scan:
MediaIn → Cineon Log (Black Reference / White Reference adjusted
                      to match the real latitude of the scan)
       → MediaOut

Mode (Conversion) (default: Log to Lin)

Log to Lin: converts a log file back to linear (pipeline input). Lin to Log: encodes linear into log (pipeline output).

Black Reference (default: 95)

The 10-bit code value treated as "black" in Cineon log. Kodak standard = 95. Raising it clips more blacks, lowering it keeps more shadow detail.

White Reference (default: 685)

The 10-bit code value treated as reference "white". Kodak standard = 685. Above = highlights, below = midtones and shadows.

Film Stock Gamma (default: 0.6)

Gamma of the simulated film stock. Kodak Cineon standard = 0.6. Change it if you are adapting another type of stock (Fuji, Eastman).

Conversion Gamma (default: 1.7)

Additional gamma applied after conversion. Lets you adjust the response curve to match a display or another stock.

Soft Clip (default: 0)

Softens clipping at the extremes. Avoids abrupt transitions in the highlights or shadows when values go beyond the Black/White bounds.

• Traditional film scan pipeline - Cineon log DPX in → Cineon Log → lin for compositing → inverse Cineon Log → log DPX delivery. The standard for 30 years.
• Recovering archive material - an old negative scan stored as log DPX to linearize for modern compositing.
• Film look emulation - linearize, add Film Grain, reapply the log curve = a simulated analog film look on a digital source.
• Adapting custom log footage - adjust Black/White Reference to match the real latitude of a custom (non-standard Kodak) scan.
• Compositing a matte painting on a film plate - linearize the plate, paint/composite in lin, encode back to log to conform with the rest of the film.
• Cross-pipeline color matching - bring Cineon log footage back to lin to match digital camera footage that is already in lin.

• Log to Lin = pipeline input, Lin to Log = output. Always think "coming in" or "going out" so you never double or forget the conversion.
• Black Ref 95 / White Ref 685 = Kodak standard - only change them if the scan comes from another stock or a custom telecine.
• Cineon ≠ ACES or Color Space Transform - for modern Resolve workflows (ACES/DaVinci YRGB Color Managed), prefer Color Space Transform or the project's color management over this node.
• Soft Clip to avoid banding - a low value (0.02-0.05) softens extreme transitions without altering the look.
• Preview in sRGB after Log to Lin - linear shown raw looks washed out (no display gamma). Add a Gamut / View Transform for a correct preview.
• Neutral round trip - Log to Lin then Lin to Log with the same parameters = identity (within floating point precision). Any difference means a parameter is out of sync.
• Float bit depth required - work in 32-bit float between Log to Lin and Lin to Log. In 8-bit or 10-bit, you lose a huge amount of precision in lin operations.
• To generate log DPX on output from digital linear material, use lin to log + a 10-bit DPX Saver with curve None (the node already does the conversion).