GH5 Paul Leemings New LUT for HLG Footage
- Thread starter TheDingo
- Start date
visceralpsyche
Well-known member
Bassman2003
Veteran
Pardon my ignorance... Does the HLG offer any benefits in the end for REC 709? Do any of the DR capabilities result in better looking REC 709 graded projects? If so then that is great. Thanks.
visceralpsyche
Well-known member
Yes, it gets you another stop of DR over Cine-D, plus the profile is free in camera, saving you buying V-LogL.
It's my favourite profile now, as it also uses more of the 10 bit space than V-LogL, meaning smoother tonal transitions.
Cheers,
Paul
It's my favourite profile now, as it also uses more of the 10 bit space than V-LogL, meaning smoother tonal transitions.
Cheers,
Paul
Bassman2003
Veteran
Hey thanks. Sounds like a good thing. So this means no LOG shooting with the ISO and overexposure right?
visceralpsyche
Well-known member
Sorry, I don't understand your question? I still advocate ETTR as the best way to shoot, if that's what you are asking?
Cheers,
Paul
Bassman2003
Veteran
So the HLG is still a LOG shooting environment? I thought it might act like a normal picture profile. Sorry, considering a GH5 so I am looking into all of this stuff!
visceralpsyche
Well-known member
Strictly speaking it's a hybrid (hence the name!). In reality, for my purposes I'm simply treating it as a data format to convert to Rec709 using my LUT. That way I get the DR advantages plus the bit depth advantages
Cheers,
Paul
Strictly speaking it's a hybrid (hence the name!). In reality, for my purposes I'm simply treating it as a data format to convert to Rec709 using my LUT. That way I get the DR advantages plus the bit depth advantages
Cheers,
Paul
What is that dynamic range advantage because some experienced film makers say the rec709 cant show more than 6-7 stops of dyn range? i am confused because my eyes sees more than 10 stops with my GH5 normal profiles.
A REC709 SDR display (i.e. your typical SDR TV set) has a luminance range (from the darkest black to the brightest white) of only 6-7 stops, but this doesn't stop a camera from capturing 12+ stops of dynamic range that are then transposed down to the luminance range of a SDR TV set. While your 12+ stop footage would look MUCH better on a HDR display (more "life like"), it can still look good on a SDR display.
jonpais
Well-known member
I’m sure everyone here’s seen plenty of comparison videos where a subject’s been shot in dim lighting against a bright window. When shot with a linear photo style, the highlights will be blown out, whereas a log proflie allows you to retain more detail in the highlights, even when viewed on an SDR display.
A modern "SDR" TV can show 1:4000 contrast ratio. It is equal to 12 stops of light intensity difference. So we can shoot with 11+ Stops "normal" profile (Natural, contrast -5, idynamic) or 12+ stops rec709 file from HLG (GH5). When I watch this file with 10bit 12 stops TV using extreme settings (100% brightness and contrast, panel native gamut 98% of DCI-P3 and dark gamma to lift flat camera profile) would that look almost like a true HDR image. It may have inaccurate colors and not entirely accurate scene contrast but the seen image has much more dyn range than 6-7 stops.
When using standard rec709 calibration with gray blacks and 100 nits white the seen dynamic range is of course lower. I still dont believe no one uses today 6 stops SDR calibration because it equals only 1:64 contrast ratio.
It is difficult to talk about dynamic range before we define the "terms" of dynamic range. Is it captured DR, file DR 8/10bit or seen DR which can be for example 1:1 000 000 (20 stops) with SDR OLED.
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...And then we adjust the all these highlights away in final rec709 video because it is illegal to show more than 6-7 stops of DR. So we adjust 5-6 stops of dyn range away from original 12 stops.
visceralpsyche
Well-known member
When I refer to dynamic range, I'm referring to captured dynamic range @Vesku. How you use it in post is of course up to you. But for my LUT purposes, it deals with the entire captured dynamic range and simply manipulates the colours and curve back to the Rec709 standard.
Cheers,
Paul
Cheers,
Paul
When I refer to dynamic range, I'm referring to captured dynamic range @Vesku. How you use it in post is of course up to you. But for my LUT purposes, it deals with the entire captured dynamic range and simply manipulates the colours and curve back to the Rec709 standard.
Cheers,
Paul
So I shoot a GH5 HLG clip. Then I convert it with this LUT to rec709 video file. The resulting video contains about six stops of dynamic range as rec 709 standard recommends?
Yes.As has always been the case capture DR is greater than display / broadcast DR so unless you capture in Rec709 you will need to apply tonal compression during grading to make it fit - just like always. HLG is just another flat capture profile.
jonpais
Well-known member
Leeming LUT for HLG in second half of lens review
https://www.youtube.com/watch?v=lzhCxgin0UY
https://www.youtube.com/watch?v=lzhCxgin0UY
visceralpsyche
Well-known member
Nice
When I refer to dynamic range, I'm referring to captured dynamic range @Vesku...
Cheers,
Paul
Thanks. Do you know how much larger gamut GH5 HLG has compared to rec709, srgb, Adobe rgb, DCI-P3, rec2020 etc? Can it separate much more vivid colors than for example Natural contrast -5 or CineD?