GH5 GH5s vs GH4 dynamic range in Cine D
- Thread starter RedChalice
- Start date
So I bought the GHa V2 pack. Liking it so far on a project where I have lots of different cameras.
My workflow in Resolve is to batch apply the HLG to V-LOG LUT to the selected clips shot in HLG in the media bin. Then in the color control I have a node for the V-LOG to LogC then another node for Resolve's Arri Logc to REC709 LUT. In the same node I go to to the curves control to adjust contrast and color balance. So far so good and the results seem pretty consistent and clean. Now do I carry on shooting in HLG or go back to V-LOG. It may ultimately depend on what in-camera monitoring LUT I like working with (yet to try the Emotive one) but also I may need to do some more tests on difficult footage. There is just something about the multiple adjustment stages that worries me even though the 10bit codec is holding up well. If I just shot HLG I'd setup the Resolve color management in HLG space and be done with it?
My workflow in Resolve is to batch apply the HLG to V-LOG LUT to the selected clips shot in HLG in the media bin. Then in the color control I have a node for the V-LOG to LogC then another node for Resolve's Arri Logc to REC709 LUT. In the same node I go to to the curves control to adjust contrast and color balance. So far so good and the results seem pretty consistent and clean. Now do I carry on shooting in HLG or go back to V-LOG. It may ultimately depend on what in-camera monitoring LUT I like working with (yet to try the Emotive one) but also I may need to do some more tests on difficult footage. There is just something about the multiple adjustment stages that worries me even though the 10bit codec is holding up well. If I just shot HLG I'd setup the Resolve color management in HLG space and be done with it?
Cary Knoop
Veteran
Yes, I really don't understand why some people insist on using LUTs for technical transforms.
In Resolve and other professional color management software you do not need LUTs for technical transforms.
Sage
Well-known member
I'm going to send you a special linear .vlt - did you get GHa this morning?
You'll want to place color corrections on a node after the R709 node. At the moment for EC, I recommend VLog, as the conversion is most direct and smooth (originally made for VLog - HLG Pre 2.2 will be a help here soon). With the EC workflow, the HLG Pre converts to VLog within a 709 space
Feel free to share what you make with it! And definitely test the most exotic colors and clipping etc. That's where things really get stunning!
I agree. If they really want to see how straightforward VLog-L can be in Resolve, just use the rec 709 gamma 2.4 output color space, set timeline to output tone mapping to 'simple'. Start there and might not even need to grade.
Sage
Well-known member
I agree too. Cary's observations and advice are always on point, and this is no exception. A mathematical transform offers unparalleled smoothness
In the originating question, I believe Shirozina is referring to the EC workflow - this is a peculiar circumstance, as the HLG Pre we are referring to is a particular tool for a particular end, so to speak.
The niche it fills is to precisely match the output of one camera profile to the output of another, as measured by color samples though the lens. Its free for download. It needs to be incredibly precise to the actual camera output, as this must sync to a second, even more intricate measured conversion to Alexa LogC as measured through the lens.
This arose from a need to support the new HLG, after the original VLog to LogC conversion was made. Of late, the focus has been realizing maximal smoothness, to approach the ideal theoretical conversion (a feature of mathematical transforms), which is important when combining two intricate conversions in this manner. For those with EC that have the choice to use VLog, the direct VLog route is optimal*