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Keep C-Log 2 and C-Log 3 clips in separate input groups and document the accompanying colour-space setting.
Build an EOS R5 Mark II grade around the Canon Log profile you actually recorded, then protect skin and product colour through the finish.
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See the video for a guide to the general conversion and creative-grading process. This is a shared workflow demonstration; the camera-specific guidance is below.
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A commercial edit can combine different recording choices across a shoot. On the R5 Mark II, Canon Log 2 and Canon Log 3 should remain distinct inputs even when the finished shots need to match closely.
Check the selected gamma and colour space before choosing a conversion. A generic Canon LUT label does not identify every setting it expects. This guide concerns encoded LOG video; RAW needs an appropriate decode before downstream grading.
Choose a neutral product or wardrobe reference alongside skin. Once the technical base is correct, evaluate how a creative look affects both. An attractive background treatment is less useful if it changes the product’s recognisable colour or makes adjacent portraits inconsistent.
Choose the conversion from the recorded Canon Log curve and colour space, then judge the commercial finish against real subjects.
Keep C-Log 2 and C-Log 3 clips in separate input groups and document the accompanying colour-space setting. Select the supported Canon input that matches both settings. Avoid converting a file already normalised upstream.
This sequence is designed for an SDR Rec.709 finish. Account for any existing colour management before applying a technical conversion; the same LOG-to-display transformation should not happen twice.
Keep C-Log 2 and C-Log 3 clips in separate input groups and document the accompanying colour-space setting.
Select the supported Canon input that matches both settings. Avoid converting a file already normalised upstream.
Use skin and a neutral product surface to match exposure and white balance across the principal setups.
Refine the look while comparing branded colours, wardrobe and skin across the complete sequence.
Use a conversion designed for Canon Log 2 and the recorded colour space rather than a generic Canon-labelled look.
C-Log 3 footage can join the same edit after appropriate preparation and visual matching.
Judge the time saving alongside colour consistency on the products and people that matter to the brief.
Yes. Canon documents both. Choose the input conversion according to the recording settings, including the colour space.
Only if it explicitly provides the correct treatment for each input. Do not apply a C-Log 3 conversion to C-Log 2 by assumption.
The workflow here covers encoded LOG video. RAW requires a suitable decode and a clearly defined colour pipeline.
Yes, ToneLab lists it under both C-Log 2 and C-Log 3. Confirm the exact input settings and the conversions in your installed version.
Profile reference: Canon EOS R5 Mark II documentation. Check ToneLab’s current compatibility information for the exact input and installed version.
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Start with the correct C-Log 2 / C-Log 3 input, balance the shots and choose a look that fits your film.
Canon EOS R5 Mark II C-Log 2 / C-Log 3 colour grading · Canon EOS R5 Mark II LUT workflow · Canon EOS R5 Mark II DaVinci Resolve · ToneLab Chroma Canon EOS R5 Mark II · Canon EOS R5 Mark II C-Log 2 / C-Log 3 to Rec.709 · Commercial Canon profile choices
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