No apology needed. Thanks for the helpful inputs and keep'em coming.:thumbup:
GH5 V-Log LUT
- Thread starter Jim Simon
- Start date
No apology needed. Thanks for the helpful inputs and keep'em coming.:thumbup:
I did some more testing in Resolve today and found out that in either an RCM timeline (REC709) or doing a color transform on each clip in a non CM timeline the key thing is to leave the options for tone and gamut mapping off (none) Although this then looks very clipped in the scopes and over exposed if you set the pivot value to zero and then use contrast to pull the data back within the REC709 range it can be easily graded with the wheels and looks very good indeed with the absence of the highly compressed highlights that comes with the auto tone mapping options and general 'milkeyness' that people complain about. I know it's not a quick fix but it is the best looking result I have got so far in getting HLG into REC709 by far! (It also does wonders on S-LOG )
Cary Knoop
Veteran
Conlorspace transformations project the full dynamic rango onto the target colorspace. So in case of a Rec.709 target colorspace, which is very narrow, it is as designed that the resulting range spans beyond 100%. It's not a bug, it's truly a feature!
It is up to the color corrector/grader to map the wide range onto the small Rec.709 range. Usually this is done by rolling off the blacks and whites with an s-curve, the point here is to keep the midtones as much having the natural contrast while the extremes have to be compromized. In that sense grading HDR is actually easier (provided you have a good monitor) than SDR, for SDR you need to go through more hoops.
I personally would stay away from tonemapping (with the possible exception of mapping over 1000 nit values for HDR), it's like one of those 'auto modes' or LUTs which will never fit for all scenes.
Shirozina's use of contrast/pivot accomplishes just that, a method I have used as well. It's effective because the pivot conveniently adjusts the center point of the s-curve and compresses the ends to map the curve into the 709 target space. Whether it's done that way or some other, the practical consideration remains in handing off footage of this type to the client that it's dumping a workload of tone mapping on his desk. An average wedding from me is 4-5 hours of footage spanning 90-95 clips in all types of light. The tone mapping of V-LogL saves a lot of work in this regard because it's close enough to need few if any adjustments for most scenes.
Yeah, that's true.
I guess I also made a mistake of lumping Rec-2020 into an HDR grading, since they are often used in tandem. If you had a monitor that can resolve the Rec-2020 color space and a graphics card that did 10-bit output (I have an AMD Pro Card that does), then you could simply use Premiere's Rec-2020 export feature.