Hey hey again Suppercondunctor! Thank you so much for continuing along with the series of videos and commenting! You are most welcome! The HLG definitely keeps revealing its prowess as I put it through more and more tests to see how its results compare against the regular color profiles! A couple more tests to go before I compile all my findings into a definitive guide for filmmakers that'd like to learn or deploy the color profile in their rec709 work! Definitely play around with it! Would love to hear your take on how it may or may not work for your needs! Until then, thanks again for stopping by! See you in the next one!
Hey hey again Jay! Thank you so much for checking out another video and commenting! Definitely! that's the conclusion I'm coming to as I continued to test the HLG, that extra bit of dynamic range really does soften the harshness of contrast transitions and give it a more pleasing look! Thank you so much for stopping by again, see you in the next one!
Hey hey again Conrad! As always, much appreciated when you pop into the comments! Pushing the colors around is definitely come down the pipeline! Definitely post some vids, would love to hear your take on HLG and how, when, and why it may or may not work for you! Thanks again for stopping by! See you in the next one!
Hey hey GetThefFromRoundMe! Thank you so much for checking out this video and commenting! I'm so glad you enjoy the format of this channel! I will continue to do my best! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
Completely agree! Thanks for doing the tests. My bottom line: HLG can be used up to 3200. Vlog, your kinda suck having to use it at ISO400 and I might push it to 800. But beyond that, VLog was not meant to be shoot at nothing but the native ISO of the camera. HLG, I don't have to worry about it. If I need a little more ISO, I will use it. Just keep in mind: Every time you raise ISO, your effectively underexposed going though the lens. Whenever plausible, the adjustments should be done before light hits the sensor, aka, faster lens, proper use of lights.
Hey hey again you two! Thanks again for continuing along with me in this series! I remember seeing a short film piece that was done in V-Log and they got up to 5000 in a cave scene that looked quite good, but I'm not for certain if they used something like Neat-Video to denoise anything crazy or any other denoiser pending their editing program. Definitely, lights and lens choices will always make even the cheapest DSLR video look pretty darn good. Two more tests to go, unless I think of more, but man this HLG is real fun to play with, and now that I'm beginning to understand it more on a in-camera technical level, this is really going to change how I light and expose my shots. Sadily FCPX in my old Mac Pro 2010 tower isn't so happy trying to playback these 10bit files natively. poo :( Thanks again you two for stopping by! See you in the next few until the definitive HLG user guide!
@@TLDR_filmmaker Hope you're doing well! Awesome content as usual. If you had to sum it up, what would you say you changed when referring to lighting and exposing? Getting used to a log profile was weird for me because it's the opposite of what you would have to do on any entry level camera. I started out with a Rebel T6s (not a bad little entry cam), but they're very linear, so you have to UNDERexpose a little to retain your easily clipped highlights. Well on VLogL/HLG, I'm pretty sure it's entirely safe to over expose a little. That way when you add in contrast, the darker regions' noise collapses, and there's so much information saved in the highlights thanks to the log roll off.
@Go Polaris Studio Doing well and still testing this HLG all over the place. In a nutshell, I would say that HLG is great in the fact that from 0-100 IRE on the waveform is all useable and retains great detail compared to the Rec709. I'm currently determining what levels someone should expose at for certain things if they don't want to push any levels at all in post. That's where this is getting interesting and I haven't quite found a definitive answer yet. But long story short, to me the entire IRE range of HLG is usable for me, I don't mind the raised noise floor when dipping between 0-10 IRE.
That is something I'm unsure of, at what IRE should we expose our 18% grey cards. In SD, its aprox 40 IRE? But where should we expose if were shooting in HLG and converting that into SD? Does it change if were planing on delivering in HDR? So far I like that there is flexibility, but it would be nice to get some solid numbers to target to get perfect exposure.
Hey hey again David! Thank you again for continuing along with the series and commenting! Good to know my findings are on par with your findings! I know I'm not doing the kind of tests I see from other channels with charts everywhere and consistent scene setups, but I kinda like this dirty approach to see how the results may either match or differ!
Once again mate, a truly informative and unique video. Love your channel so much !! But as English is not my native language, im not sure of getting EVERYTHING you explained. So im a bit confused about ISO values. I understand that shooting HLG you can't go under ISO400 (as for V-Log), but ISO400 in HLG behaves more or less like ISO800 in Natural color profile, right ? So if I want to expose correctly my shot, using waveform for example, do I have to just trust the waveform and try to nail everything within its boundaries, or must I remember that HLG behaves like it was "already overexposed" by nearly 1 stop and I must intentionally underexpose my shot to compensate that "already overexposed" thing ? I try to be as clear as possible, I hope you understand... once again thank you very much for your work and dedication
Hey hey again Pedro! Trust the GH5's internal waveform as it will show you what you are actually getting. The initial confusion I had with the HLG is that the waveform jumps really high when you bring it into a Rec709 color space. My theory was wondering how I could expose differently so that I am banking on my lower end shots jumping upwards while exposing up highlights differently to retain more color value. That gets into a complicated territory of ideas, but generally speaking, look at the GH5's waveform monitor to know if you actually clipped or not so that when you bring it back into a rec709 editing environment, you will be safe within the boundaries. Hope this makes sense and helps!
Hey hey again Niz! Thank you so much for continuing along with the series of videos and commenting! A couple more tests to come before I compile my findings and put out my definitive take on how to use HLG! Until then, thanks again for stopping by! See you in the next one!
Hey hey again UraFlight! Thank you so much for checking out another video and commenting! Glad you are enjoying this HLG series! Almost down to the final video where I'll release my own personal take and guidelines to get the best out of the color profile, I hope that video will be a nice help for anyone wanting to use it. Thanks again for stopping by! See you in the next one!
Greetings Mohd! Thank you so much for checking out this video and commenting! I love Gerald Undone! That means a lot! Happy to hear that you enjoyed the video! Thanks again for stopping by and I'll see you in the next one!
Bro please upload a colour correction , highlight recovery of GH5 HLG.. i use HLG to VLOG conversion Lut and colour grade of my taste... Is there any other best ways
Hey hey again Guru Raj! Thank you so much for checking out another video and commenting! Color pushing and exposure guide is definitely coming down the pipeline as I continue to test this color profile and determine whats the best way to use it! Stay tuned! Hopefully will have that guide out soon once I finish all my testings! Thanks again for stopping by! See you in the next one!
That conversion is pointless because #1) it's not converting it to VLog. They're two different data streams and two different end results of media. There's no real such thing as a "conversion" lut between those two. They're two different tools even though they have similar contrast retention. (Due to their LOGarithmic nature). I would just shoot in VLog if you want to color. HLG is meant for crazy dynamic range retention, but short turn around for coloring. Hope that helped!
@@gopolarisstudio thanks i already know this.. please i need solution only.. i don't have money to buy VLog.. i want best results from HLG.. no one uploaded exposing method and colour correction method for HLG.. thats why I asked him ..
@@Rajanarulmani I believe you want to expose to the right. Paul Leeming describes the method he uses: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-P_bDdQPAtas.html
Hey hey LHorizon Films! Thank you so much for checking out this video and commenting! Huh... thats interesting to hear. I never used focus peaking on the GH5 for the reason you stated, it was just blobbing up most thing and wasn't great for critical focus. I wonder if the HLG has a different processing path thats giving better information for the focus peaking? Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
@@TLDR_filmmaker I have found that in H mode focus peaking is more accurate, and I can trust it. I just would like it to be more visible and stronger especially in bright sunny day. Hlg focus peaking is visible enough though. It's weird.
So I got a chance to see your film on Amazon. (Trailer will see he entire tonight) I’m curious how did you do this. Budget, crew shooting day, editing, props location etc. From my understanding you did it all on the GH5. This is very interesting to me because most of my kit is off your suggestion
Hey hey again Shaoba! I truly appreciate you checking out my first movie! You are correct, the entire movie was shot between the GH4 and the GH5. I do have plans to do a massive video course that goes through my entire experience of making that movie and what all went into it to make it happen. I think it'll be a valuable set of videos to hopefully help another creator get into their first feature film at that scale. I know I'm skimping a million details, but the TLDR is "Be resourceful, be respectful, be creative by not fighting tooth and nail for your vision because chances are what you envisioned is not possible at that moment, so you need to know how to achieve the same emotional and visual outcome through different means." If you have the time, feel free to leave a review of what you thought of the film, good or bad, on Amazon and IMDB. Thank you so much again for checking out the film and hopefully sometime this year I will be able to start working on the massive video course that details my journey through a feature film. See you in the next one brother!
I'm new to HLG and considering to use it instead of CineD because I want more flexibility in grading (and I don't have V-LOG). I have a few questions, and I would greatly appreciate if you took the time to answer them: 1. You say that HLG acts like twice the ISO on other color profiles, wouldn't that be a HUGE downside in terms of noise in low light shooting? Especially considering I just lost two stops of light as well! So I get let light on my sensor AND I have to use lower ISOs? At this point I wonder why anyone would ever consider shooting HLG unless it's just meant for bright sunlight? 2. Do you expose the same way for HLG as CineD/Natural etc, when it comes to IRE levels? Or do you deliberately under- or overexpose? Not sure if I've read that somewhere... Thanks a lot!! :)
Hey Hey Freddd95! Thank you so much for checking out this video and asking some question! I would recommend you check out my GH5 learning playlist as I go through a good chunk of things in what I found with the HLG: ru-vid.com/group/PLWbL9Hgk_9dwhKZhCqmHk7GnBT3D6XHNz 1) No, its not a downside as my understanding back then with HLG was that a rec2020 image gave you a very blown out rec709 image. When you pull the highlights all back down to rec709, you have a very clean rec709 image. The noise floor is not really raised. 2) If you are looking at the GH5 waveforms in HLG (which I cover in the playlist). You will want to expose them about the same way as you will have a lot of flexibility to move the IRE values around when conforming to a rec709 image. Its wonky to wrap your head around it, but once you start playing with it, it all makes sense. Hope this helps. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
PLEASE HELP! 1. What HLG type is on the GH5? BT2100, BT2020 or BT.2408? 2. Do I read the waveform the same way using HLG as when using other color profiles, like CineD? Does it clip at 100IRE?
Hey hey again Freddd95! I replied to your previous comment so check that one for the link to my GH5 learning playlist as I talk about this stuff and more. 1) Rec2020 or BT2020 2) Read the waveform the same way because you are either going to be in a rec2020 timeline project or you are going to conform it down to a rec709.
Is there a quick LUT or Color Correction transformation to "normalize" the HLG footage in a 709 timeline? Or does one just have to eyeball it and watch the waveform and vectorscope until it looks proper?
Hey hey Alan! Thank you so much for checking out this video and asking a question! Depending on your NLE, some of them now have a HLG to 709 conversion effect already built in. If yours doesn't, then you'll have to eyeball it unfortunately. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!
@@TLDR_filmmaker Thanks for the reply! I did a search and found that there are several ways to do this in FCPX, all simple and costless. The thing is I still find it very hard to take the footage back to a normalized, flat look to start grading with. The HLG footage just resists too much, and I find the extra stop or two is not worth it, I rather use the Neutral profile and V-LOG when outside/high constrast. But thank you for the videos and in depth tests!
If you record internally in Rec.2020, the Leeming LUT can do a good job of converting it into Rec.709 after you import the footage into your video editor.
Would be quite fun! I'm still wondering if I will buy V-log L soon or still hold off until news of what the GH6 may do. If for whatever reason the GH6 doesn't make me want to upgrade right away, I would probably then go ahead and purchase V-log L knowing that I am now going to double down on the GH5 for the next 3-4 years.
@@TLDR_filmmaker there won't be a GH6 bro. Maybe an S1S. Only thing on the Panasonic roadmap this year is the blessed 10-25mm f1.7. We both know Panasonic wants us all to buy into the S series. We're lucky to get the 10-25mm. We both know that another good GH series cameras is another reason for guys like me and you to NO upgrade into the S system. P.S. I'm cool with your reviewing system. It's how real people get down.
I believe the GH series will continue because Panasonic has really developed something special that Sony is also sort of doing as well (before Panasonic). I feel that Panasonic has created a eco system that goes from GH --> S --> EVA --> Varicam LT --> Varicam 35. If they maintain the current price point of the GH system, that would be amazing for the budget minded productions. But for larger productions that may use the EVA as principle cameras and deploy GH or S cameras as crash or B-cameras... So on and so forth. Essentially I feel that with the development of the S-series, they've closed the missing gap not only in price point, but deployability. Im not sure if I'll ever really have the desire to go up to a Varicam, an EVA 2 maybe whenever they update that line. But I think for budget filmmakers the GH and S series line are going to be a great pairing compared to the A7 and A6XXX line. (Based on deployability) But you could be right, maybe the GH series will be axed and they will just leave the MFT sensors in GX models. I sure hope that's not the case!
@@DavidGriffin I hope your wrong. I think there's going to always be a m43 market. That smaller senor produces less heat meaning they can push more tech onto it. m43 will always be ahead for video features. Just look at the video history in a nut shell: GH4 - People noticed GH5 - Somehow made everything that we liked in the GH4 way better. GH5s - Dual ISO, 2 stops of light improvement putting it almost in FF territory while keeping the power of the GH5. BMCC4K - Nuff said? I would not mind if they build a specialty camera, something like the Olympus OM-D E-M1X. Probably too expensive for me, but I'd ogle all over putting the GH5s sensor with double the mpb rate to something over 800. That could have it record in ProRes LT. It would also mean 4K 60p internal recording also. Upgrade the IBS to something like 8 stops and not need a gimbal. Get it to dual record CompactFlash and were set for the races!
is the portrait color profile good for skintones. I use portrait color profile with -5 on contrast, sharpness and noise reduction with 0 on everything else. I like my skintones good in camera so will portrait be ok for that. No one talks about portrait and I am wondering If there is something wrong that I am not noticing. Did some tests, seems great to me so just wondering.
Hey hey Love First! Thank you so much for checking out this video and asking a question! There's nothing inherently wrong with the Portrait profile, I've used the Portrait profile for interviews. It seems to push the skin tones towards the skintone lines to give people a more please look in terms of color. Dialing down the contrast is a good idea, I didn't do it with how I lit the interview. In the end, if what you are filming looks pleasing to you and or the client, no worries about if the profile is good or not. Depending on projects and people, some may prefer a different profile over the other. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!
@@TLDR_filmmaker I have been binge watching your videos for a while and that is the reason why I got a panasonic g85 with some vintage lenses. I am going to be a wedding videographer so learning as much while practicing what I learn. I learned that from you. That why skintones are important because I am not good with color grading yet so want to have a decent image first so I can have a little flexibility. Thank you for all your videos and please never stop making videos. You can take breaks but don't quit please. Thank you so much.
I thank you so much for your support by watching these videos. I'm happy you are getting value from them. This year has been very review heavy, I hope to do more tutorial or learning based videos next year like my Fix Skin tones video (I'm assuming you have seen it but incase you haven't ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-WirZIaRm_yQ.html ) I will definitely continue to do my best until theres a day I have nothing left to say...but that probably won't happen easily because "We're always still learning" :) Keep going, learning, and get out there and make some beautiful wedding videos! When you make your first wedding highlight video that the bride and groom allow you to post. You let me know and I will watch it, holding you to it! and I can't wait to see it!
@@TLDR_filmmaker Ow really thank you, I am honored. I am happy that you even replied, thank you so much and yes I have watched the video. It was very helpful in getting me the results I want so thank you. I have practiced with a point and shoot camera all these years so getting this camera was like my blowing. Thank you again and I will keep you posted.
@@TLDR_filmmaker Also wanted to ask how do you get a warm look when color grading. I want to keep my whites white but I like the warmer look in my footage that why I also like the portrait profile.
