Alternatively map it to ARRI Log C gamut and use popular film print LUTs. 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. And also, I looked at the code that loads LC709A on which AA709A is based and I dont understand how from the (Im guessing) Sony-provided 33-wide 3DLUT, LUTCalc is able to isolate/factorize the gamma transform (S-Log3 to Rec. HLG has a slightly cooler white balance compared to F-log and film sim, so be careful setting the kelvin value. If I make the same selections as the ones mentionned in the original Art Adams article. 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. I take your point and I did originally have it laid out differently, but LUTCalc has grown out of being a tool for camera people to use with cameras like the F5/F55/FS7, so I'm conscious of keeping simpler workflows clear at the front and not radically changing things that people are. X-T3's HLG implementation follows ARIB STD-B67 NHK spec which places middle grey much much lower than BBC spec. Hi sobotka, 'Linear / Rec709' is the umbrella for all conventional gammas (linear being effectively gamma 1.0). 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.
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