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