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Old 09-02-2019, 10:42 AM   #41
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Originally Posted by Ron Evans View Post
Found the answer--I think.

HLG colour range is limited ( and fixed in the GH5 ) to 64-940 ( I guess because it goes back to the broadcast side ) log is 0 to 1023 ( again fixed in GH5 ) all the other picture profiles can be changed to different ranges. So yes you are correct Steve. Of course if you are going to broadcast you will be back into the same limitation ? Likely not a limit for me anyway as most go to SD DVD or Bluray 8 bit rec709 anyway and I really correct rather than grade for a look.

I found quite a few pieces of info comparing dynamic range of GH5 but nothing that really showed limitations of colour range as well. It was mentioned but not well demonstrated to my mind. HLG has a clear advantage in being able to be shown immediately on both SDR and HDR TV's. Also the file can be saved as an archive and likely shown again in the future with no action needed. An advantage that I see for my archives. Editing software may very well respond to the file correctly but I am not TV's will correctly apply a V-Log-L LUT to view the file.

Good learning experience. Not having been interested in grading for a look so had not researched into this area in any detail. All my attention has been to exposing to make sure I get detail without blowing highlights or loosing shadow detail. Colour sort of came along for the ride !!

Thanks Steve

hey Ron....

in the manual for the gh5/gh5s is states that when using Vlog-L the luminance range is fix to full : 0-255 or 0-1023
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Old 09-02-2019, 02:00 PM   #42
Ron Evans
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I think I have found lots of references now comparing V-Log-L with HLG and most prefer HLG because of ease of exposure and several tests actual view the outcome better because of highlight roll off is smoother with more detail in HLG. I think it depends so much on how much one needs to shift grading from the natural image and whether that is in the shadows or highlights as they both perform differently in those areas. True V-Log is much better of course for wild grading but only on S1, EVA1 and Varicam.

As Dave has said for multicam my task is just to match cameras and sometimes even the same camera between shots for the reasons I have mentioned with GH5 colour. The change is always small levels or colour. LED lights can really mess up at times. Because they can, the theatre scene can have different colour temps across the stage from night time to daylight making setting white balance a pointless task these days. I have a rough idea what it is with the lights in different theatres and just set all the cameras the same. Both PCC in EDIUS and Resolve have WB correction easy if it is small change anyway.

For this coming season I will shoot h265 HLG 30P on the full stage set GH5 and 60P UHD HLG out to the Ninja V from the GH5S. Main reason is to capture the highlights easier and secondly the GH5 h265 is a ready made full stage archive in HDR for the future. As most of you know I do not like slow frame rates so have stayed away from 30P in the past but the h265 HLG converts well to 60P using optical flow so not an issue.
Ron Evans

Threadripper 1920 stock clock 3.7, Gigabyte Designare X399 MB, 32G G.Skill 3200CL14, 500G M.2 SATA OS, 500G EVO 850 temp. 1T EVO 850 render, 6T Source, 2 x 1T NVME, MSI 1080Ti 11G , EVGA 850 G2, LG BLuray Burner, BM IP4K, WIN10 Pro

ASUS PB328 monitor, BenQ BL2711U 4K preview monitor, EDIUS 9.5 WG, Vegas 16, Resolve Studio 16

Cameras: GH5S, GH5, FDR-AX100, FDR-AX53, DJI OSMO Pocket, Atomos Ninja V
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