Comparing Canon Log to Pixla HTP

I shot two simple scenes (back and front lit) with my Canon 1Dc in 4k resolution, 8bit, 422, MJPEG at 500Mbps.

First you see the Canon Log clip as it comes out of the camera. Then the same clip graded. Then my Pixla HTP settings at the same exposure value (EV), then the Pixla HTP settings stopped down one stop (which puts it closer to Canon Log). At the end of each scene I repeat the graded Canon Log so that you can do a direct comparison to the Pixla HTP when it's stopped down one stop.

Typically, the base EV was around 12 (f5.6, ISO400 1/50 and 0.9ND—3 stops).

Note: Pixla HTP is Neutral PP with contrast and sharpness all the way down, and saturation at -1. In addition, Highlight Tone Priority is active. See separate blog post here.

Is the 1Dx mkII MJEPG a bad codec?

Long GOP

Since the Canon 1Dc was launched with its high bitrate (520Mbps) MJPEG 422 8bit codec, self proclaimed experts have been complaining that it’s old technology, inefficient and Canon really should have used XAVC.

Is it really as bad as they say, or is there more to the story?

The main complaints are:

  • inefficient compression (large files)
  • poor playback performance (old, not optimized video compression).

The short story

The short story is that it’s a good way to store high quality video files, it was the best available to Canon at the time (in a DSLR), but yes, a dedicated video encoding chip that offered intra frame XAVC would have been even better. Canon’s relatively cheap XC-10 UHD camera uses the new XAVC codec for example (305Mbps). The XC-10 camera has a Digic DV5 chip that makes it possible.

UPDATE: If the 1Dx mkII had access to a DV5 chip like the XC-10 and the C300 mkII, its file sizes would land between 325 Mbps (XC-10 bitrate at 4096x2160) or 410 Mbps (what the C300 mkII uses). These are good examples of modern intra frame compression. The benefit would be better compression and no need to convert files for editing.

The long story

Now, the long story is, as expected, much more nuanced. Let’s look at the two main complaints.

Inefficient compression. When you record 4k files at 500Mbps, the gigabytes of your memory cards get eaten up like you wouldn’t believe. Every 15 seconds you save a GB worth of data. So that’s bad, right?

Well… compared to what?

Had you saved your compressed video directly to ProRes 422, a codec often hailed as a golden standard and a good compromise between file size, quality and great playback performance—your files would have been even bigger. OK, so the compression is better than ProRes then? Well, from a storage point of view—yes. It shouldn’t be that surprising that the compression is good. MJEPG stands for Motion JPEG and we have all used .jpg to compress our photos and images for many, many years. And of course, jpeg is not only a consumer compression format. It’s used every day in all kinds of professional applications because the quality is great.

I feel that the mistake most people do first is to compare the Canon 1Dx mkII, or Canon 1Dc’s codec, which is an intra frame codec, to modern consumer camera codecs that are inter frame (long GOP).

Intra frame means that you store each frame of video as a unique image frame and then you compress that. Just like you would compress a raw photo to a jpeg photo. This is what the Canon 1Dx mkII and Canon 1Dc do. They basically save 25 jpeg photos per second in 4096x2160 px resolution.

Consumer cameras achieve great compression by only saving a small number of actual frames out of the 25 images per second. Out of 25 ‘frames’ you might get 3 actual images. All of the other frames get only partially saved and then calculated (estimated) by advanced mathematical calculations. It certainly saves space, but it also famously introduces various image artifacts. Typically Long GOP codecs have problems when the image content change a lot from frame to frame. Examples of this might be flowing water, foliage that is blowing in the wind or simply that the camera moves. Most of the time, a non critical user won’t see these imperfections. And final delivery of even the highest end cameras mostly end up in this format for display (but they don’t get captured that way). But while it’s a great delivery format, I don’t want to capture my images this way.

Lesson: Don’t compare data rates between intra frame to inter frame. They are not the same thing!!

Poor playback performance. This I have no problem agreeing with—because it’s more objectively true. MJPEG has very low requirements at time of compression. That’s great because it means cameras can use it even if they don’t have super fast CPU. It also requires less power and saves your battery. But it isn’t optimized for playback in editing software and your playback will likely stutter. Not good.

Well, I (almost) wouldn’t know, because my files get converted to ProRes on import into FCPX. I then replace the original files and have ProRes 422 masters. They are a little bit larger, but it’s negligible. Playback performance is a total non issue to me and the same should apply to anyone—just convert the files once.

Note: The reason the Canon 1Dc and now the 1Dx mkII uses the older MJPEG compression is because they are DSLRs that use Digic chips and not Digic Video (DV) found in Canon’s video cameras. For a Canon DSLR to use a dedicated video codec, Canon would need to integrate a DV chip, or perhaps launch new hybrid Digic chips that have these types of codecs built in. Legacy h.264 compression is already integrated in the DSLR Digic chip, which is the reason all Canon DSLRs use that for their video recording (8bit, 420, h.264 at modest bitrates).

Where 4:2:0 breaks //Re-posted on request

One of the defining differences between the C100 and the C300 is the internal codec each camera uses. While the C300 records to the broadcast approved Canon XF codec (4:2:2) at 50 Mbit/s the C100 records to the familiar AVCHD (4:2:0) at 24 Mbit/s.

A common mistake I see people make, is looking at the bitrates of the two codecs and then they assume that AVCHD’s 24 Mbit/s is only half as strong as the XF codec’s 50 Mbit/s. However, since the underlying technology is different, you can’t compare them directly like that.

Instead, the real difference is that XF codec is a 4:2:2 codec, while AVCHD is 4:2:0. But what does that mean exactly?

Look at the video above and see if there is something that stands out. Then continue reading.

Chroma subsampling
Due to storage and transmission limitations it has always been the desire to compress image data. Taking advantage of the fact that humans are less sensitive to changes in color than brightness, methods have been developed where images are encoded with less chroma (color) precision.

Take your time and study the image below carefully. It illustrates the theory behind reduced color precision, or chroma subsampling. The top row represents the Luma channel and Chroma channels combined, while the two lower rows breaks the channels apart so that you can study the precision in the respective channels.


When you see the amount of data dropped in 4:2:0 encoding, you might be amazed that it actually works as well as it does. While it isn’t the optimum way to treat images from a strict quality standpoint, it is a proven method that has worked well for many years.

This type of image compression also allows for long recording times to inexpensive media. It’s up to the user to decide what tradeoffs are reasonable in every situation.

4:2:0 limitations and vulnerabilities
I have stated on various forums on numerous occasions that I think that the internal recording capability of the C100 (AVCHD 4:2:0) is fine for almost every situation. I still stand by that. Would I rather have 4:2:2? Of course I would.

But I bought the C100 half expecting that for any serious work I’d have to hook it up to an Atomos Ninja 2 in order to get uncompressed 4:2:2 via HDMI out and record that to ProRes at 220 Mbit/s. After looking at footage shared by others on Vimeo (by downloading the original files) I’m struggling to justify the Ninja 2. The internally captured footage simply looks good enough in almost every situation. There are times though, when you should be especially on your guard. If you know what to look for you can check and see if you are in trouble and/or if you need to take steps to correct an issue that might otherwise show up.

Look at this frame grab from the video above. I’ve sized it up to 200% in order to show the problem more clearly. To see it in context, please watch the video above again. You can download the original file in ProRes format.

Since 4:2:0 subsampling only offers half vertical and half horizontal resolution, sharp edges defined by the red or the blue channel will be prone to be jagged. It almost looks like a ‘field’ from interlaced footage before de-interlacing.

Did you notice it while watching the video before the page break? Was it disturbing? Only you can decide how much of a real problem this is to you.

Not suited for green screen work?
I’ve heard from several users that do frequent green screen work that the internal AVCHD codec actually holds up pretty well. That’s good news! I’m sure the generally clean and sharp image from the C100 helps a lot. Also, since green screen work means keying edges from the green color channel (where we have full resolution), depending on what you have in front of the green screen, results can be quite good.

The purpose of a Log picture profile

The purpose of a logarithmic picture profile is to capture the maximum amount of data at the time of shooting. In doing so we get the most flexible image file for post work. In addition, if the log curve assimilates characteristics of that of film or another digital sensor, it will be easier to mach footage between the two.

A log curve also allows for a sensor to capture more stops of light than the file format natively supports—for example 12 stops of light saved to an 8 bit file.

The true value of a stop of light

As image makers we are used to talking about stops of light. We accept that each new stop of light adds the same about of light that we previously had—it’s doubling. Take what you have, and add just as much, then you’ve got double the amount.

Don’t fall into the trap of thinking that each new stop adds the same amount of light as if a stop was a liter, or a gallon. A fixed amount. It isn’t. Like I said above: it’s always a doubling. Look at this numerical series:

  • 0+1=1…………………… stop 0
  • 1+1=2…………………… stop 1
  • 2+2=4…………………….stop 2
  • 4+4=8…………………….stop 3
  • 8+8=16…………………..stop 4
  • 16+16=32………………..stop 5
  • 32+32=64………………..stop 6
  • 64+64=128………………stop 7
  • 128+128=256……………stop 8

Notice how the first stop was a value increase of 1, but the last stop was a value increase of 128. Notice also that this sequence consists of 8 stops. You’ll recognise the familiar range of 256 values (0-255) as the discreet luminance steps in 8 bit images. When we write 8 bit like so 28, we can see how this represents “a doubling, eight times”. If we would write 10 bit in the same manner we would have 210. A doubling, ten times—which gives us 1024 luminance levels.

How do you fit a 2 foot troll in a 1 foot cave?

If the numerical series above represents light stops and the values are electronic charge levels, we make the following observation: it would be very impractical to just save the data like it’s recorded, because the last stop would contain 128 discreet levels of information, whereas the first stop would only get 1 single level!

Representation of exposure in linear stops

No, instead we use a curve to distribute the light stops evenly. If we recorded 8 stops and have 255 assignable levels we get 255/8 which is just shy of 32 levels per stop.

Representation of exposure in logarithmic stops

Logarithmic picture profiles are an essential and powerful tool in today’s professional video cameras. But it has also become a marketing tool for manufacturers when they try to position their cameras as more ‘pro’ than ‘consumer’.
I’m increasingly seeing log profiles that were designed for 10bit space (and 1024 discreet luminance values) being offered in cameras that only record 8bit data. In this case we have to be careful, or at the very least very alert, so that we don’t spread the light too thin. Using too few luminance levels per stop can cause posterisation and banding. But that’s a topic for another day.

Thank you Prolost Flat, now it's time for PIXLA HTP

If not Canon Log, then what?

OK, so with the Canon 1Dx mkII, Canon Log is out the window and we have to find what the best alternative picture profile is.
Plenty of Canon users have been shooting for years with the so called “Prolost” settings, myself included. Although, at the time I didn’t use that name. is the blog by all-around-nice-guy Stu Maschwitz. Stu has been living in and around the film industry for a long time—he worked at Industrial Light and Magic at one point.

When the Canon 5D mkII was released many of us jumped at the camera: full HD video recording on a 36x24mm sensor! Unheard of. The image had aliasing and the codec was seriously compressed 8bit, h.264, but that didn’t matter. To get the most out of the images then, we turned down the contrast of our favourite picture profile all the way down and reduced in camera sharpness too. It was recommended to also reduce saturation by one or two steps. Stu blogged about this and gave name ‘Prolost Flat’ to the following settings: Sharpness all the way to the left, contrast all the way to the left and saturation to -2. I was using similar settings myself, but with saturation at -1.

Now, it’s much easier to refer to the “Prolost settings” than to start specifying where each setting for contrast and so on has to go. That is why I now offer you—tongue firmly in cheek—my Pixla HTP settings.

The Pixla HTP settings

The Pixla HTP settings build upon what we already know, the Prolost Flat settings, but make use of an additional tool in Canon cameras: Highlight Tone Priority.

Highlight Tone Priority, HTP going forward, has been in Canon cameras for a long time. I remember it being marketed towards wedding photographers, offering them assistance to not blow out white wedding dresses when shooting .jpg. It doesn’t do anything to the image data when shooting raw, so it’s often dismissed by serious photographers—but it has its use for video. Here’s how it works:
Dig deeper…