![]() The footage is ingested in Resolve Studio 17.3, Color Managed, DWG timeline, 1000nits, with the V-Log tagged correctly. But it didn't.Īnd for the processing and grading, I did my best, with the least manipulation possible. I really wanted V-LogL to outperform HLG, I'm used to work in V-Log, and it let's you preview in False Color –in HLG you have to use the waveform that occludes 1/4 of the screen and zebras– and I have my workflow very well tuned to it. Maybe V-LogL performs better in preserving data in the highlights, I don't know.Īnyway, I haven't done that video to prove anything to anybody, and I don't earn money by speaking against VLogL, I just wanted to know which profile preserves the sensor data better, lacking in-camera raw recording in the GH5. I still have to do the same test, but pushing towards the white clipping, increasing stops instead of lowering them. Plus the fact that the HLG curve is more linear (more Rec709-ish in fact) in the shadows, and gets more logaritmic in the highlights, it's easily predictable that it performs better in the shadows than V-LogL. But the HLG curve fits all 12 stops across the whole 10 bits, thus preserving more data. įor that matter, the bit depth is what's really important for the test, and it is 10 bit anyway for both profiles.Īnd, speaking of bit depth, what the V-LogL critics say, is that because the V-Log curve is designed to fit the 14+ stops of the bigger panny cams, And V-LogL is just that same curve but chopped to the 12 stops of the GHs sensors, a whole bit gets discarded in the process, so in practice you encode only 9 bits in V-LogL. You're right, the OG mode is in fact 4:2:0, but I don't care too much about that last digit because I still deliver in 1080p, and 4:2:0 4K scaled to 1080 magically becomes 4:2:2. All I found was it was easier to get predictable colour with HLG due to the reasons explained earlier. I have observed in camera NR on HLG vs V-LOG L but when I did my own tests I couldn't see any practical difference in DR. ![]() ![]() Also depending how you are adjusting 'exposure' in Resolve and how you have setup the RCM it may not be increasing all parts of the data equally on HLG and V-LOG L. John Griffin wrote:Open gate is 4.2.0 so not the best colour data to start with. In the same vein, if i set clip input space to 'bypass', and just grade from scratch, will colour management still work? Or do you need to set an input space in order for davinci to know how to remap the gamma/gamut when you come to change output spaces? I just want to set an appropriate input space as a kicking off point (save me a bit of balancing/normalising work too), but I am not knowledgeable enough to know how much leeway there is - ie will i mess up my pipeline if i set the wrong input space? From what you and John seem to be saying, panasonic v-log is fine to use as the input space for v-log L? Don't think i quite articulated that in my original post. I'm trying to set up a davinci yrgb colour managed workflow, so that i can do my grade and then let davinci remap my output colour space in dcip3/709/2020 at a later date for deliveries. I probably should clarify that I'm not specifically trying to use a lut to get to a 709 final look. So apply the v-log LUT, then adjust the controls to taste. In Resolve, when you apply a LUT to a node, it is processed after any other controls of that same node are applied. This is done by applying the LUT or transform and adjusting the grading controls with those controls applied to the clip before the LUT or transform. So as mentioned above you have to adjust the clip to work in the LUT or transform. Which is NOT the same as nearly any clip you're ever going to grade. They're just a lookup table with fields for pixel input value->output value.Īnd the ones you're talking about are created in a studio environment with perfect color and contrast lighting plus camera exposure. RNeil H wrote:LUTs are routinely called dumb math.
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