Manual › Basic license features
Color and HDR
ShotList2 converts log and RAW footage to a display look through ACES for the thumbnails and the player. All color features are included in the base license.
Automatic color space detection
The color space is chosen automatically from the clip's metadata (gamma and color space). Automatically chosen values are marked " (auto-detected)".
- When Settings → "Color Space" → "Also apply ACES to log footage" is on (the default), log footage is shown with a Rec.709 look.
- Rec.709 / BT.1886 footage is left as is.
- How EXR files without a declared color space are handled is set on the same page.
Per-row color space
If the automatic choice is wrong, set it per row.
- List: right-click a row → "Color Space". "Reset Color Space to Project Setting" goes back to automatic.
- Player: choosing another "Color space:" sets it for that row only; its thumbnail is rebuilt when you close the player.
The menu is grouped into ACES entries and per-manufacturer headings ([Sony], etc.).
"Show (d)"
Turning off "Show (d)" in the player (the D key) removes the color transform so you see the original log. It is a temporary switch and is not remembered.
ACES version
Choose 1.3 or 2.0 in Settings → "Color Space" → "ACES version:" (2.0 by default). Apple Log, DJI D-Log and HLG are available only with 2.0.
Supported log formats and color spaces
| Manufacturer / type | Log / color space |
|---|---|
| ACES / general | ACES2065-1 / ACEScg / ACEScct / sRGB / Cineon / HLG |
| Apple | Apple Log |
| ARRI | LogC3 / LogC4 |
| Blackmagic Design | BMD Film Gen 5 / DaVinci Intermediate |
| Canon | Canon Log / Log2 / Log3 |
| DJI | D-Log / D-Log2 |
| FUJIFILM | F-Log / F-Log2 / F-Log2 C |
| GoPro | GP-Log / GP-Log2 |
| Insta360 | I-Log |
| Leica | L-Log |
| Nikon | N-Log |
| Panasonic | V-Log |
| Phantom | Log1 / Log2 |
| RED | Log3G10 |
| Sony | S-Log3 (S-Gamut3 / S-Gamut3.Cine / VENICE) |
| Z CAM | Z-Log2 |
Camera RAW color
Settings → "Import" sets the development color per manufacturer. After changing it, import again to update the thumbnails and the xlsx.
| Setting | Options (default in bold) |
|---|---|
| RED RAW color: | RED standard Rec.709 (IPP2 output transform) / Use Log3G10 (enable ACES, also supports HDR monitors) / Prefer the look embedded in the clip (3D LUT / CDL) |
| ARRI RAW color: | ARRI standard Rec.709 (no look) / Use LogC3 / LogC4 (enable ACES, also supports HDR monitors) / Prefer the look embedded in the clip (ARRI Look) |
| Phantom RAW develop: | Rec.709 / Log1 / Log2 |
| DNG RAW develop: | Rec.709 / ACEScct / D-Log2 |
RED and ARRI can also be set to process on the GPU or the CPU.
Exposure and brightness
| Exposure | Brightness | |
|---|---|---|
| How it works | Applied before the color transform, like camera exposure (1/3 stop steps, ±8 stops) | A multiplier applied after the color transform (0.1–3.0) |
| Player keys | Alt+↑ / ↓, Alt+R to reset | ↑ / ↓, R to reset (Shift+↑ / ↓ in ShotPlayer) |
| Default for everything | Settings → "Thumbnails" → "Exposure (EV)" | Settings → "Thumbnails" → "Brightness" |
For ARRI, RED, N-RAW, Phantom and DNG, exposure is applied inside the development, so highlights are preserved. "Apply (b)" (B) temporarily turns off brightness and exposure to compare with the original.
ACES Reference Gamut Compression (RGC)
Keeps very saturated, out-of-gamut colors from breaking up. Settings → "Color Space" → "Apply ACES Reference Gamut Compression" (off by default). In the player, use the button to the right of exposure or Alt+D.
HDR display
On an HDR-capable display, the player and ShotPlayer show HDR automatically.
| Requirement | |
|---|---|
| Windows | A monitor with "Use HDR" turned on in Windows Settings → Display |
| Mac | An EDR-capable display (Liquid Retina XDR, etc.) |
- HDR applies to footage shown through ACES (ACES HDR, 1000 nits).
- The HDR button or Shift+D switches between the HDR and SDR looks.
- Choose the gamut in Settings → "General" → "HDR gamut:" (Auto / HDR (Rec.709) / HDR (P3)).
- Thumbnails and the xlsx stay SDR.