![]() ![]() And the value is roughly 4.9 stops Above 18% gray. The goal is to match the image’s false color overexposure part (red color) to the clipping area that appeared in the waveform. We will repeatedly adjust and output LUT in LutCalc, and then load it into the camera for testing. By observing the waveform, we know that in V-Log plus DR Boost mode, the highlight clipping point of the GH6 is around 88% IRE value, which is a crucial reference indicator. The general idea is to modify the official LUT based on GH6 characteristics. There are two materials for making the false color LUT, the first is the official Panasonic V-Log to V709 LUT, and the second is the LutCalc conversion tool developed by Ben Turley. So the LUT has only targeted the V-Log plus DR Boost mode. Otherwise, its dynamic range is even slightly worse than the old GH5. Since the GH6 uses a dual gain output sensor (DGO) that provides additional 1.5 stops of dynamic range, I believe most professional creators will use the V-Log plus Dynamic Range Boost mode. Fortunately, we can load a false color LUT in the V-Log View Assists menu to achieve this feature that only some higher-end cinema cameras have. However, in more complex scenes, you may need false color to work faster because you can see the IRE value of each part of the image. ![]() ![]() In most scenarios, exposure using waveform is sufficient. We all know that the GH series provides videographers with many convenient exposure control tools other mirrorless cameras do not have, such as waveform. If you are not interested in the technical details, you can download the LUT file I have already generated and copy it to the memory card, then use the V-Log View Assists menu on the GH6 to read and use it. Alternatively map it to ARRI Log C gamut and use popular film print LUTs.GH6 does not have the False Color function built-in, but we can achieve this advanced feature by loading a Monitor LUT (.vlt). In post, use a BT.2100 HLG to Alexa 709 3D LUT for grading, HLG uses BT.2020 gamut so you should map it to a BT.709 gamut first, do not grade directly and simply add saturation, the colours will be wrong. Ideally you should shoot HLG with external ProRes HQ 10bit 422 codec due to the aggressive tone curve manipulation in post. ![]() Another reason why a colour accurate external monitor/recorder would be extremely helpful when shooting HLG.ĥ. Factor this in when lighting and developing looks for your film. HLG has a slightly cooler white balance compared to F-log and film sim, so be careful setting the kelvin value. You need custom LUTs to help you preview final exposure, otherwise it's hard to see what's going on in the scene and may lead you to overexpose.Ĥ. X-T3's HLG implementation follows ARIB STD-B67 NHK spec which places middle grey much much lower than BBC spec. An external monitor/recorder with custom 3D LUT feature is a must. In low key scenes (like the one above), shadow area will have visible grain, with ProRes HQ 10bit 422 recording, the noise pattern is pleasing and monochromatic with a fine 35mm texture, turn in-camera noise reduction off (-4) and "interframe NR" off to preserve the texture, otherwise you get blotchy patterns.ģ. HLG wasn't intended to be an acquisition format so there's very little room for error.Ģ. Respect the ISO1000 rating and be extra careful, do not over/under-expose more than 0.5 stop, ideally should be spot-on. Observations for working with HLG on X-T3:ġ. HLG mapped to ARRI Log C Wide Gamut using LUTCalc: Here's a graded frame from a feature film I'm currently shooting, entirely using X-T3 outputting HLG to Ninja V. Also, HLG makes full use of 0-1024 10bit code value, while F-log throws away 0-95 which could contribute to banding. Reds are deeper and richer with very little orange shift seen in F-log images. It's clear that HLG completely removes the magenta hue in F-log and renders shades of blue in a way that's reminiscent of Alexa. HLG with Alexa LUT generated by LUTCalc, no grading, WB 5300K, Shift 0: Here's a better comparison than the one from my previous post:į-log with Alexa LUT generated by LUTCalc, no grading, WB 5300K, Shift 0: To me, X-T3 now feels like a completely new camera shooting with HLG. I'm pleasantly surprised by the refreshingly new colorimetry and better (not higher) dynamic range distribution. I've been exploring the power of HLG picture profile introduced two months after X-T3's release. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |