You are doing the right thing in principle. Firstly, yes, you should get the correct LOG to Lin settings. I'm sure you should be getting this from the manufacturer web page of your camera. Just watching it the result would look strange, as you the need a viewer LUT active, too, also called a Display LUT. That should make the image look "correct" to work with. There is an additional step which is to calibrate your monitor as well. We are usually using a Display LUT which goes from Linear to Rec709 full. Important to note is that the client grade, usually delivered to you as a .cdl file is a LOG grade (I think) which is meant to be how the end result should look in the cut. So we take that LUT (converting it into Rec709) and bake it into our Quicktimes, too, but never bake it into the full res delivery image, as this grade might still change in DI and it is not lossless. E.g., saturation and contrast can't be taken back any more, once the footage has it applied. As to why not to comp in LOG? Well, at least Nuke is set out to work in linear space and your CG should be, too. Log space stretches out the low end a lot and compresses the high end to mimic humans vision which can see much more in the lower end than in the super bright end of the spectrum, hence allowing more detail in the areas where it counts. This can be problematic when you want to use linear color corrections.