World Exclusive - GH5 FW 2.0 HLG vs LOG - what is HLG with davinci tutorial - YouTube: I bookmarked the following 2 links some time back when shopping the Panasonic platform as a "next choice" (after trying to work on the Sony Alpha platform and being generally disappointed with settling for 8-bit image data).Ĭaveat: Now, I haven't tried any of the following procedures as I've yet to dip my toes into HLG but, again, I bookmarked this information to reference to when that time comes for me.įirst up is Jeff Worley, of CRFTSHO, generously performing a hands-on tutorial for setting up for HLG in DaVinci Resolve 12.5 (a bit dated, I know, but hopefully this translates well for the current v.16.2?) cued to the 1:46 mark. Yes, I've been debating the color chart, but it seems very expensive for what it is.Īnyway, I will try your suggestions first and see how it goes. Color matching footage from the 2 cameras will be really easy. If you can use X-Rite Color Chart during the shoots you will be golden. Can use Gamma 2.2 or Gamma 2.0 instead of REC709. Not sure how this will work.įor Panasonic Color Space transform for GH5 with HLG will look like these in Resolveįor Sony S-Log2 picture profile it would be: You'll have to try several options for input Gamma. Have no idea how footage will look and in Resolve there is no value that corresponds to Cine2 or Cine4 gamma. Or some kind of hybrid profile where Color Mode is S.Gammut and gamma is Cine2 or Cine4. If your Sony camera doesn't support HLG, then only option would be standard S-Log2/S.Gammut Picture Profile. For Panasonic cameras those would be V-Log and HLG and for Sony S-Log2, S-Log3(to avoid) and HLG (best). Only is this case Davinci Resolve will know how to interpret correctly the colors. As video shows method 3 is usable only if you shoot with Log profile or RAW. As you suggest, I should try with the s-gamut setting and see if that gives me a good starting point. Method 3 suits me the best, but I'm having trouble finding out what my input should be with my current PP settings on the sony. I wish I could watch the video, but I don't understand any russian unfortunately. Thank you! That was a very informative post! Because it is not clear what color space are Sony PP with Color Mode = Cinema, Pro, Movie. If you don't have HLG then you should use color profiles or create your own color profiles having Color Mode setting = SGammut. For Sony Cameras this colorist advise to use HLG. Same process for the clips of the other camera(s)Īll 3 methods require to be well aware what picture profile you used during the shoot. Once the color space transform is done on one clip do a stills grab and then apply it on all clips from the camera with few clicks. Never seen anybody with tutorials on youtube explain the theory and practice so logically and simplyĪpart of the color space transform values for input and output color space and gamma, you should also set Tone Mapping to Luminance Mapping. But you still will be able to pick up the principles and settings for both cameras. Wish I new this before ! The best video which explains the method and probably the most important part of color correction in Resolve is unfortunately in Russian. Including when footage is from different cameras. My productivity in Resolve jumped at least two times and results are great. This one was game changer for me and the method currently use as a first step for color grading/correction. Method 3 - Color Space Transform effect in Resolve. Used ACES method in the past to work with Sony S-Log 2 video and results were great. But not always and setting the cameras each time correctly require some work and attention.įew professional colorists publishing tutorials on youtube advise against LUTs for color correction. Tried this on BMPCC 4K and Sony A7 III and it works reasonably well. Panasonic GH5 and Sony A7 series are supported. If you shoot with each camera with the settings given by the author and then apply the corrective LUTs in Resolve for each camera you will get correct colors from both cameras. Method 1: LUTs and more specifically Leeming LUTs PRO. One or more cameras most people don't know how to do correctly step one. There are plenty of videos on youtube but all they go straight to the second one missing the crucial first step. If the first step is done correctly you will have very little to no work on the second one. Color match them if there are differences. Correctly interpret colors in Resolve for each camera.Ģ. There are 3 methods how to approach the task and those 3 methods are actually different ways to structure your color correcting/grading workflow in Resolve.Ĭolor matching two different cameras has 2 steps:ġ.
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