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    #11
    Senior Member
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    Feb 2013
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    Sydney, Australia
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    No no worries. Glad to hear others comments. His, the producer's idea was that the original camera files being HLG can be viewed straight out of the camera on an HDR capable UHD set, one of which he has, which makes his clients happy as they can view their "glorious" UHD rushes straight away. It's a 4k selling point for him. Tweaking the HLG files for quick HLG delivery only require a little bit of LG & Gain. If required for standard HD delivery I'm just hitting them with a 709 LUT and a little LGG now that he is happy with with the final 709 LUT we have come up with. In fact the producer in question rang me a couple of hours back and said the particular client we originally shot the HLG for loved the HLG rushes on his, the producers office UHD set that he, the client booked another seven short one minute promo videos. I can't argue with that because hopefully I'll get to shoot and post them. Fingers crossed. Not a big job but little fish are sweet. I'm now looking into recording S-LOG internally on the FS7 and possibly burning in an S-LOG2/3 to HLG LUT on an Inferno for his HLG viewing rushes. That gives me the best of both worlds. The only issue being possibly being the three Cine EI fixed white balances on the FS7 would also translate to the external HLG recording meaning they would probably need a white balance dependent on the shoot circumstances. The way of the world today, so much more stuffing around to keep clients happy these days!

    Chris Young


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    #12
    Junior Member
    Join Date
    Sep 2020
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    Here is a good LUT I can recommend as a base for further grading when you go from HLG/BT2020 to Rec709: https://cc-lut.hotglue.me


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    #13
    Senior Member
    Join Date
    May 2010
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    Resolve includes native REC709 HLG color space conversions, one of the features of the HLG standard. HLG TV sets automatically adapt a proper HLG color space input to match the specs of their panels. HLG is one of three HDR standards and the only one backwards compatible with REC709. Most HDR TV sets support HLG and HDR10. Higher end sets also support Dolby HDR standard too.
    Shooting in a camera log format and doing a mathematically correct color managed HLG conversion in Resolve greatly simplifies the grading process, especially if your reference monitor supports HLG standard. A mid range relatively inexpensive HLG HDR consumer TV can make a useful reference monitor for most practical purposes. I tend to prefer LG's because they have Expert mode calibration menus that are consumer accessible rather than requiring a service code. The newest generation models have two different user calibration setups for light room and dark room conditions.

    If you shoot raw or log formats, in Resolve color management settings you set your camera native color space as the input and display referenced color space as your timeline conversion to match your reference monitor for accurate grading. Output color space conversion can be set to a different display space for output encoding if needed, HDR or non HDR.
    That can become a can of worms as you have to specify the maximum white lumen level of your intended HDR display . For most consumer TV's 300 nit standard is appropriate. If you use third party luts for grading, your timeline color space should be the same as the one the LUT was written for. Output color space should do the HLG conversion.

    Vlog to REC709 HLG conversion example:

    V-log to HLG color conversion.jpg
    Last edited by Razz16mm; 09-24-2020 at 08:21 AM.


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    #14
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    May 2010
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    Grading log footage is not as straightforward as changing contrast and color saturation. Why mathematically correct color space conversions simplify your life.

    ]


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