Insane GH5 Highlight Recovery in Hybrid Log Gamma color profile (HLG) 

Hey hey man! Dude, thank YOU for bringing that video to my attention! When I was researching HLG I was primarily looking at HLG vs LOG and no one could really show me any reason to use either on a daily basis. So many many thanks for you making me dive further into technical results and details as I try and to determine what's the best way to expose for this profile so that people can really take advantage of it! Man, I can't imagine what GH6 would bring, but I kind of wish not a lot so that the GH5 price drop would be insane and I'd double down on more GH5 cameras haha! Thanks again for stopping by my friend! So glad you did to hear the shout out! See you in the next one!

Greetings John! Thank you so much for checking out this video and commenting! The GH5 keeps surprising me too, someone said that V-log seems to have this ability as well around the same amount of recovery. Saving 100 bucks to have something similar in this regard is nice, maybe not for camera matching but for just shooting project exclusively on the GH5 is nice! Ooo the LS300, that was a very exciting camera when it came out, never look too far into at the time and I think JVC has stopped development? May need to check it out again if I can get one for a nice price! Thanks again for stopping by! Hope to see you in the next one!

@@TLDR_filmmaker Thanks for the response. Love connecting with different people and learning from my peers. Only had the LS300 for a few months now. I picked it up in a bundle with a Atomos Ninja Inferno, Sigma 12-40mm pro for £2700. A bit of a bargain as I wanted the Inferno for a while. Works well with both cameras, plus the livestreaming that is built into the LS300 is excellent. Perfect for sports, community events and weddings.

That definitely sounds like quite the bargain to me. I didn't realize the LS300 had live streaming built in! Very cool! Same, I love the small little community here on this channel, I'm definitely blessed that the subscribers here chime in and we can all have some discussions together!

Hey hey Joy of Filming! Thank you so much for checking out this video and commenting! So glad these videos were helpful. Hope you got to the full playlist where I dived more into the HLG codec and what I noticed. Your S1H will most likely behave differently, but it should be a good starting point. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Greetings Brainstorming Films! Thank you so much for checking out this video and commenting! That definitely makes sense as I continue my testings in the Shadow/Mid range to see what the GH5 is doing down there. It's just changing my mind how to work with these types of color profiles as I've more or less just be working with... I guess Linear? color profiles? Everything was always so cut and dry and that's how we've lit our films because of it. This Logarithmic curve is so interesting to play with to see what I can do differently in my lighting to get a different look from a linear profile. Really appreciate you chiming in on your knowledge of the color profile! Thanks again for stopping by and hope to see you in the next one!

@@TLDR_filmmaker Yeah, but i still use CineD, because it support 8bit. Also the sensor response does not change, you got the DR and noise. Just underexpose one stop when using CineD.

Thanks for clearing this DR question up with HLG. I shoot Cine D too, however have lately been thinking about switching to the Natural profile to reduce time in post. Apparently the DR of Natural is about 10 stops, Cine D about 10.5 and HLG about 11.5.

​@@dominic-ryan HLG is really good because it's using the hole 10bit space instead of vlog. But i can assure you that after testing all 3, Vlog, hlg & CineD. CineD has the same DR of the other two, if you underexpose it one stop, you have the same noise and highlight head room. The advantage of CineD is that you can use it in 8bit modes.

May need to come in a couple forms, this HLG is really changing my perspective of how I would now light a scene base on how it reacts when you force it into a rec709 timeline. Crazy! This makes me feel like I have some free sudo 1/2 RAW thing going on (obviously not true) but we shall see as I continue to test and form a guideline.

Hey hey Tyler! Thank you so much for checking out this video and commenting! This definitely seems to be the case so far! Really hope that Panasonic doesn't take this away in future cameras for people that don't necessarily need V-log but would love to have the extra dynamic range. Thanks again for stopping by! Hope to see you in the next few as I continue to do more tests on this Color Profile and determine the best guide to expose for it!

Hey hey Michael! Thank you so much for checking out this video and relaying all that info! This is my first time going in depth on a color profile that's not rec709 that I feel has been pretty straight forward in terms of what I'm used to and general guidelines to not blow out your images. What surprised me was that with the exact same settings from a rec709 color profile, it was dark from the camera, but jumps back up to all the normal levels once put into the rec709 timeline. Where I'm getting confused on and will be testing is.... If I'm using the same settings as the rec709 profile for HLG, and they blow out after going +2 over the breaking point. Does this mean I could technically expose my HLG skins at the GH5's 25IRE and have all the rest of the upper IRE's to compose with and crunch it back down? Thats the perception I have from these initial findings, but it may result the same as you stated above and that I actually don't gain anything, its just a different way to expose. Because I was out of focus I didn't get a chance to really see what the codec does when it jumps my face back to IRE 50 and if its cleaner or weirder compared to rec709 skins. I guess if everything is going off of just the numbers and not image quality, my theory for an outdoor scene is using ND filters to keep the sky within the boundaries of where the highlights break. Expose the actors face to only 25IRE with the intent that it will go back up to 50IRE when i place it into the rec709 timeline. And because my sky is within the boundary, when I bring it back down all should be there. Ultimate theory I'm trying to figure out, for outdoor scenes I may or may not need more lights modified to light the actor and be able to retrain the sky details if any. And for indoor scenes I can really play without practical lights in a scene to not only help light the actor but to hopefully reach that more hollywood feel in the way they light certain interior shots more easily... Sorry for the long reply and that it probably sounds like too many thoughts. I just need to test where the boundaries are and then see if I can use it to light a scene differently or more dynamically. Thanks again for stopping by! I'll be sure to email you if I don't understand a certain result I get in my tests. Hope to see you in the next one!

@@TLDR_filmmaker Hey, sure! If you want to save more highlights - then use ETTR technique, even if your skintones will be lower than 50 IRE (btw, in HLG your skintones will be always darker, because HLG gamma curve is much darker than other profiles). If you'll try Davinci Resolve - it will not lift your HLG footage gamma after importing, so you will be able to compare unmodified original gammas in Rec.709 space. Also, try to shoot high contrast scene (with clipped highlights and deep shadows) with HLG at iso 400, and with Normal/CinelikeD with the same aperture/shutter, but at ISO 200. And then compare how much information is reserved. You can check video on my channel I made for V-Log. HLG works the same way.

Holy cow now I know where I recognized your name from, I came across your video sometime in the last year for whatever reason. I think I was looking to see if I wanted to get V-log for the team to start learning and using. I remember thinking how interesting that was in the way you approached the testing and what results you pulled from it!

How much dynamic range do I have in natural color profile. Like 10 stops and how would I increase it or I can’t

Greetings Richard! Thank you so much for checking out this video and commenting! It's definitely a very different type of color profile that I am not learning you can't treat it like a traditional color profile out of any camera. It's very interesting and I hope I can create a nice definitive guide to help people that want to use it! Thank you so much for stopping by and I'll see you in the next one!

Hey hey again William! Oh come on you already know I'm a nerd about "almost" everything. I am familiar with the Leeming LUTS, have not personally purchased them myself but some of my colleague's have and love them. I read his info sheet that talked about how to expose for his LUTS to get the best out of them and it pretty much confirms a lot of my own experiments with the HLG series. I may be more willing to expose more into the shadows depending on the type of film I'm doing, as in my color grading section I enjoyed the moody look of going into the shadows were appropriate. Otherwise I like that HLG is available in the GH5 for free, but part of me still wants to possibly get the V-Log to see which color space I more enjoy working in.

Greetings Zarza Studio! Thank you so much for checking out this video and commenting! You are most welcome, the tests have only just begun for this color profile! I'm happy that you got some value from this video and I will continue to do my best and put out useful fun information for filmmakers and aspiring filmmakers alike! Thanks again for stopping by! Hope to see you in the next one!

Hey hey David! Thank you so much for checking out this video and commenting! I'm so glad this video was helpful! HLG is definitely an interesting profile as I went through a few more tests with it! Ultimately I still use Natural the most for controlled situations, but narrative films I would choose HLG because of its different dynamic range steps. Great to have options in such a powerful, and now cheap, full featured camera! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker Good video! Do you mess with the contrast, sharpness, noise reduction etc on the natural color profile? Just got a G9 and need a quick fix on what is preferable before I do more experimentation myself.

Hey hey again Ulrich Bierwisch! Thank you so much for checking out another video! .... Balls, where the heck did I get "Hyper" log gamma from?! That completely makes sense how you described it, much more than what I can remember from the Panasonic announcement! Thanks again for stopping by! See you in the next one!

Hey hey again Kelkschiz! It's been awhile, thank you so much for checking out another video! This has definitely been an exciting find, as I continue my tests I will hopefully have a nice easy guide for filmmakers to reference so they can see how they should expose for a HLG scene. Because if I am thinking about this correctly, I can theoretically light more powerful scenes than I was previously able to with the rec709 color profiles that had a hard stop in my available IRE range. Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker Indeed, It sounds great having more headroom in the highlights. I used to be very scared of clipping the highlights. I just learned that HLG is also the profile with the best dynamic range, except for V-log, which I don't have. So excellent stuff. Only it will probably mean I'll have to get an new main light do benefit fully... A guide to expose correctly to untimately get re709 will be very useful.

@@TLDR_filmmaker I also wonder how HLG handles if there for whatever reason is not a lot of light in the scene. Will it still hold up at least as well as other profiles?

That part of my next set of tests against the other codecs, then ultimately a massive video solely on showing what HLG does in various situation and then finally, a guide with the full intention of forcing it into rec709 and not deliver in HDR. Very exciting stuff and glad to know there is a lot more in the GH5 than I originally have thought

Hey hey CeasarStudio! Thank you so much for checking out this video and commenting! So glad this video was helpful! I will continue to do my best with my content and reviews! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey again VFX Todd! It's been awhile! Thanks for checking out another video and commenting! It's definitely an interesting codec and I think for people that don't need to push color as much with V-log that HLG could be a good alternative to gain the most amount of exposure options out of the GH5 in a rec709 space. As I continue to test, I will eventually get a definitive reference guide for people to use and understand where the limitations are and what kind of looks they can get from it! Thanks again for stopping by! See you in the next one!

Hey hey again Conrad! Thanks again for checking another video! I have a question that I can't seem to find the answer to, when you shot in v-log 10bit, do you end up with a rec2020 file or a rec709? Someone said V-log has the same amount of recovery and from the one test I saw, it seems to be the case. Just curious. But yes, this is really cool and I'm glad Im now finally running my own set of tests. This could change a lot of things with how I light a scene if I film in rec2020 with the intention of forcing it into rec709. Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker That's definitely a big question. According to a "how to" expose HLG video, when you use an Atomos Inferno, for example, it accepts "HDR", and blends a mix of 2020 and 709 for monitor purposes. Per Panasonic's Varicam .pdf, V-Log uses the V-Gamut colorspace which is, according to them, a bit larger than 2020. V-Log L (Light) uses less than that. The conclusion I've come to is that it's not necessarily an etched-in-stone color space the way you'd normally think like with the other picture profiles. So long story short, V-Log L and HLG record in a colorspace somewhere between rec 709 and 2020. But reading some of the manual, I think HLG is better in specs. Really what we're witnessing in both of them is the overwhelming power of logarithmic curves.

Been researching over the day and it appears you can get more color information out of V Log, but the same amount of exposure variation from HLG. The times in which I would use HLG would be if you're shooting a documentary and are completely not in control of your lighting, or anything else where you wouldn't want to spend time coloring at all. The caveat being, in HLG you have to nail your White balance as good as you would in, say, Natural.

Thanks for doing some digging on the matter! That makes sense to me between the two profiles.

Hey hey again Shaoba! Thanks again for checking out another video and commenting! I just checked out one of the few videos I could find that did a recovery test with Vlog on the GH5S instead of my GH5. It seems like their highlight recovery was similar to mine (assuming they exposed the face at around the same exposure I did) If the Vlog also records to a rec2020 in 10bit instead of rec709 10bit like all the other basic color profiles, then this makes sense why vlog is performing similarly against HLG. Unfortunately I haven't need V-log so I never purchased it to do a comparison. Not sure if I ever will because I am perfectly happy with the color profiles I have for free, and now even more so with this discovery of HLG acts when conformed to a rec709 space! Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker There was this dude that did a color space analysis. He focuses on the dynamic range. I can't remember the link but google GH5 dynamic range and video will pop up. he stated that HLG is a little less range than vlogl. Then CRFSHO and Atomos stated this as well. Then also on Cook Optics TV, they stated that all cameras can actually capture 2020 space is just that broadcast was only Rec 709. so camera and NLE automatically conform to this space. That's why the 10.4 fcpx update was more important then people knew. It allowed you to manipulate the log curve when you decided to conform to REC709 from HLG. SIDE NOTE. I really got to start producing some content for my channel. :|

I remember I looked at the CRFSHO's video about HLG vs Log and essentially I left at the end of the video feeling like there was nothing that made me want to film in those profiles. But I think he did another one where he showed some stuff in Davinci that I didn't watch. As I do more tests to see what people can expect forcing the codec into rec709 only, I really wonder how different I can light my scenes. No worries man, don't feel rushed when you're just starting out. I like the lighting you got going on from your 7th test, looks nice and sharp and different! I'd say make a list of videos you'd like to do, categorize them, and then from there you can start knockin them out! You got it man! Let me know when you get a few videos up for me to check out when you get started!

Another thing that helped was when I brought my GH5 I also brought the Ninja Inferno and vlogl. On the Atomos there is a slider the goes from SDR to HDR. If you think about that then you might have the same question how with no setting changes? The Atomos slider was just for viewing HDR and it was doing it in real time. Nothing was baked in. Then the dude that owns Atomos dropped the Ninja V. In one of those video he stated that all sensor have been able to capture HDR. it just they also were comforming in the camera cause older TVs can’t play Rec2020. He showed that with the new Ninja V. Then there are HDR to SDR output LUTS out now. I think camera companies just omit or dumb down what the cameras can do. That was exposed by Magic Lantern and 5D Mark iii. In the setting you save HDR non conform footage with that. And it’s 2.5k! I have that setup too. Oh! And off your recommendation I brought the 50-150 to pair with my18-35. What nobody ever pointed out about the 50-100 was the large filter 82mm compared to the 67 of the 18-35. 82 mm filters are expensive. I use 77 mm filters and the 50-150 is 77mm👌 Thanks for the channel encouragement!

I saw that Magic Lantern is still cracking that old 5d3 like no ones business, it's quite crazy. Wish they would hack into the GH camera to see what kind of craziness they could get to. But at the same time, the GH cameras are already quite good for what they are out of the box. That was something I didn't state in my video but I was aware. I am not a fan of the 82mm filter thread. All my Rokinon Primes were 77mm, my Sigma 18-35 has a step-up ring to make it all match. You're most welcome! I look forward to seeing what you do on your channel when you get it up and going!

Hey hey again Rich! Thank you so much for checking out another video! Could you confirm something for me from your GH5S? Someone told me that Vlog is capable of the same amount of recovery, and I found one test similar to mine that shows to be true. The only thing I couldnt find out is if Vlog is shot at 10bit, do you end up with a rec2020 file or a rec709 file like the other color standard color profiles? If this is all true, then its nice to know there is a "freeish" extra dynamic range profile already in the GH5! Thanks again for stopping by, definitely let the community here know your findings in playing around with the HLG!

TLDR Filmmaker awesome I’ll check it out and let you know.

Greetings Oliver! Thank you so much for checking out this video and commenting! I wasn't terribly clear and I kinda skimmed over the surface of it, but the reason you want to use shutter instead of ISO is because the GH5 performance differently in dynamic range, noise pattern, and color renditions as you move through the ISO ranges. If I shot the same tests at a constant ISO 3200 my results would be very different from ISO 400 (where the GH5 has the most range, color, and noise pattern). The Shutter does not have that type of effect on the image as the digital shutter only changes how it refreshes and not change the sensitivity of the sensor itself. Essentially when you change the ISO you are charging the sensor with more electricity to become more sensitive to light, in doing so the sensor heats up a little more than usual and it begins to change the way the sensor interprets light. This is why when you shoot at extreme high ISO like 12800 on the GH5 you will be left with a image that is very noisy and the color and dynamic range suffers. Compared to if you were in a very very very bright room and you raise your shutter to be able to see, the color and information will stay clear and consistent when your ISO is locked off. Another way to understand this is through photography, photographer use a lot of power lights and quick flashes to keep their ISO low for the best color and dynamic range, but raise their shutter very high so that they are able to catch a quick moment in time before a model blinks or when someone makes a football touchdown. Hope this makes sense! Thanks again for stopping by! Hope to see you in the next one!

@@TLDR_filmmaker Thanks for your response. There is some truth about how different ISO values threat dynamic range. But, if we are speaking about high dynamic range, things migh change. As you've said photographers try to use always lower ISO.. but this actually doesn't change anything when shooting in RAW. It chnages if you are shooting in JPG. You can chacke this video that explains things a little bit better as it goes for photography: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-QVuI89YWAsw.html So, the theory is quite simple, but this ISO behaviour is quite different only because of post processing done in camera. So it's actually isn't a limit of video gain (iso is just a gain) but on interpretation of this values inside camera. From this standpoint, I assume that actually HLG format on gh5 is really pretty close to shooting in RAW. Also, if you look at highlight rollout, HLG does it better than any other profile.

Hey hey again Chris! Thank you so much for checking out this video and commenting your experience! I didn't think about that, just tossing a rec709 lut onto the HLG to just bring everything down and then adjust. Nice quick and simple! That's definitely something I will be testing and trying, to see how far I can push the HLG vs the others. I'd imagine it will do better as far as the other color profiles are concerned, but we generally light our scenes as close to the final look as possible so that we don't push the codec too hard in post and break it. We shall see as I test this further! Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker I look forward to seeing your other tests and conclusions on this codex. From memory, there has not been a lot of RU-vidrs testing this profile beyond just shooting it and showing what they got from it. I use it almost exclusively now and if you come up with some good techniques/processes to get even more out of it, well I'll be waiting/watching/learning to apply it to my work! :)

Same here, I feel like I see some just standard shots but nothing terribly technical to explain how the color profile behaves. I will try to cover as much detail as I can think of once I have a set boundary of where the HLG is most useful and hopefully provide a good one stop reference for filmmakers wanting to make the switch over! Cause at this point...it would seem foolish of me to not learn how to light with this codec to get the most full dynamic image I can get! Thanks again for you alway stopping by and chiming in on this topic! We'll all get to the bottom of this together!

Hey hey Joe! Thank you so much for checking out this video and commenting! G9 users are definitely getting a major awesome update with that latest firmware! In terms of Exposing for skin, I did another video (actually several videos) on my experiments with HLG. Skin Tone video here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-H8fzSa8Lm3c.html In my opinion skin tones seemed like it wanted to be around the 40-60 IRE range (when looking at it from the GH5's own waveform monitor) and when conformed back to rec709, it gave some nice results. But there are times where I would go lower depending on what I was going for in a color grade, in which case I show what the results are if you exposed more to the right vs the left. Video here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-6lNHfq4qKGs.html Hope these helps! Thanks again for stopping by and i’ll see you in the next one!

The 2nd test I did was trying to simulate the first test you talked about. I have a foam board blocking the light thats hitting the paper text and color chart, and then I had a different light that exposed my skin at 50IRE for the baseline. you could still see the text at +2 over. This week I will be doing some more tests and scenario lighting and hopefully by the third video I will have a nice set of guidelines people can use so that they know where the limit is in terms of recovering. It's definitely very interesting with how this all works, and I think this may fundamentally change a lot of how I would light a scene knowing where my limits are and potentially even underlight a scene because HLG codec seems more sensitive when you conform it back into a rec709 timeline... idk, lots of testing needed to relay if you need to reconsider how you read your waveforms etc etc.

@@TLDR_filmmaker It's nice to have a little protection if you need it, like when "someone" forgets to the ND filters....

Hopefully one of these days we'll get some sort of internal ND or some sort of weird computation it's done digitally? I don't know if it exists but it should! Imagine, you tell the camera to do a digital ND but you're still able to shoot at the set shutter speed but the camera just processes the image different stop lower than what its actually seeing. Seems like it should be able to be done, no need for optical ND's.

@@TLDR_filmmaker You mean like the Sony FS5 developed automatic electronic ND's? They are pretty sweet to use. I believe it's now also on the FS7ii & FS5ii. There's also those weird snap-onto the sensor ND filters, (STC brand?).

I remember hearing about the electronic NDs but I thought those were an electrical charge that goes past a clear surface to make it go darker, so theres still a piece of something before the image gets to the sensor? Not sure. Not sure I heard of a snap-onto sensor ND's I remember for Sony E and MFT that for people adapting EF lenses that you could slide in a ND filter into the adapter instead of in front of the lens. That never seemed to pick up, great idea though!

Hey hey How to Creative! Thank you so much for checking out this video and asking a question! At the time of this video I did not have/purchased the V-Log upgrade as I didn't have a need for it in my line of work. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

@@TLDR_filmmaker Hi there! Alrighty, I shoot everything in V-Log or Cine-D. Never really tried HLG. Do you ever use V-Log? And what do you think about V-Log vs HLG? edit: amazing video nevertheless!

I have V-log now, but haven't shot with it too much yet, just testing how it behaves. From what I can tell the V-log's colors are nice and close to reference color checker chips and looks pleasant enough out of the box. HLG I believe is meant to be the "standard" color profile in the HDR range for people that want some of the benefits of V-log, but want something that's a little more burned in, in terms of color. V-Log is more for people that want the control of both luma and color for the final image. As I play with it more I'll have more to say, but for now thats my TLDR of presumed difference between the two.

@@TLDR_filmmaker Thanks for the reply! Yea, I agree with you. I've started using GHAlex luts. It's looking good, although I am a big fan of using color space transform for most of my V-Log work. I use Davinci Resolve for everything, so yea. In general, I think the V-log profile is a bit too purple overal.

Hey hey again Freddd95! Check my other video about what waveform to use when filming HLG. If I remember correctly the Waveform is showing the compressed range and not the full 0-100 range. So it will clip at around 80? In other words, trust the incamera waveform. Once you start working with the footage in your NLE it will unwrap itself to the full 0-100 range.

Hey hey Style Film! Thank you so much for checking out this video and asking a question! I think I may have the answer for you, you need to make sure you are filming in a 10bit codec whether it be 1080p or 4k, 24p or 30p. If you are in an 8bit codec the HLG will be greyed out. Lastly, I'm not sure if this matters, I always film in .mov file format, I think HLG might still be available in .mp4 format, but if for some reason its not, try .mov. That all being said, make sure you check out all my other tests on the HLG after this video, specifically the "Which Assist Mode" should you be in: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ukmVDSjhP40.html This will help you gauge your exposure so you know that when you pull all your colors back down into Rec709 space that you actually still have all your highlights. Hope this helps! Thanks again for stopping by and I’ll see you in the next one!

@@TLDR_filmmaker Thanks so much for reply, that's a great help!

Hey hey again Ted! Thank you so much for checking out another video! You are most welcome, I'm learning in the process too as I try to figure this HLG profile out and hopefully conclude with a reference guide for people that'd like to get started with the profile! Thanks again for stopping by! I'll see you in the next one!

@@TLDR_filmmaker Thanks again. It really makes sense since HLG will be 10 bits with the upcoming S1. Never had a chance/time to try it out. Still learning how to expose cineD and Vlog on my GH5s ;) (by the way, I have been following you long before starting commenting. You do a great job).

Thank you so much for your subscription and ultimately your time, I truly appreciate it and the kind words! I will continue to do my best!

Hey hey again Alx! Thank you so much for checking out another video! You are most welcome! More to come as I try and figure out what's the best set of guidelines to expose for this codec with the intention of forcing it into rec709! See you in the next one!

Greetings Shae! Thank you so much for checking out this video and commenting! On the GH4 I show primarily in Cine-D as well, on the GH5 we all went over to Natural, but now HLG may become our primary color profile of choice for a rec709 delivery. As I continue a bunch of tests that I will publish so that everyone can follow my process, I will hopefully come to a decent conclusion and put out a definitive reference guide for filmmakers to check and see how they can work with this profile and what to expect! Thanks again for stopping by! Hope to see you in the next one!

Hey hey Erik Z! Thank you so much for checking out this video and asking a question! @B&H Photo Video unfortunately has denied me multiple times to partner with them to generate affiliate links for them. My guess is that I'm not a big enough youtuber for them to consider, I never could get an answer as to what I can improve to help me get partnered with them so I've sort of stopped trying for the time being. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey again Niz! Thank you so much for checking out another video! Will do, this is very interesting now that I know it exists and will try to figure out a set of guideline to expose this properly with the intention of forcing it into a rec709 space! See you in the next one my friend!

Greetings Deadeye! Thank you so much for checking out this video and commenting! Unfortunately I can't because I do not own V-log due to our team never having needed it with the way we light out scenes to the cameras limitations. I may invest in it eventually if we start using different brand cameras across a production... or someone out there suddenly sponsors me a V-log code haha But until then, it would actually seem that V-log has the same amount of highlight recovery as I showed here, there is a vlog test that did something very similar and assuming they exposed the skin at the same IRE range, the it does seem to be similar in terms of highlight recovery. However color will definitely be a different story as well as Noise performance etc. Thanks again for stopping by! Hope to see you in the next one!

@@TLDR_filmmaker seems like a good reason! But if you do make it work id love to see the V-Log video! :)

Hey hey Miso Orepic! Thank you so much for checking out this video and commenting! Glad you enjoyed it! I dive into the more HLG tests as well, it's quite a profile to work with if you need the extra color fidelity! Thanks again for stopping by and I’ll see you in the next one!

Hey hey hzubovi1! Thank you so much for checking out this video and commenting! My best guess is that adobe is already adhearing to the rec2020 color space in the project so you are already seeing exactly what you shot in HLG. In this example when I was testing, FCPX was still operating in rec709 so I was able to pull down all that information back into the color space. If you watch my full HLG coverage, I eventually find out that you should still trust the GH5 waveform. The waveform will let you know if the rec2020 is clipped or not. Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

Hey hey again Guru Raj! Thank you so much for checking out another video and commenting! Indeed, I will be trying to figure out a set of guidelines to help filmmakers know whats happening, especially because my intent is to force this codec into the rec709 space instead of authoring it for rec2020 HDR. Thanks again for stopping by, brother! See you in the next one!

*poof* Instant Transmission complete (Name that reference?) Unfortunately an expensive recorder monitors is the only way that I am aware of at this time. Would be great to see some budget friendly companies try their hand in this arena like Liliput, but the licensing of some uncompressed codecs is probably what's holding them back from development :( Thanks again for stopping by! Till the next one man!

Hey hey Big Rob! Thank you so much for checking out this video and asking a question! As far as I know, a lot of HLG users on Panasonic and Sony systems seem to like the "Leeming LUTs". I think these luts are more for color correction though and not necessarily a stylized one? I'm not sure as I have never used them personally, but many have said that his LUTS do quite well getting colors to a good corrected starting point. Hope this helps! Thanks again for stopping by! Stay safe, healthy, and I’ll see you in the next one!

No, this realization is because of the HLG being filmed in rec2020 space thats trying to conform in a rec709 standard space. Now editors have a built in convert effect that allows you to transform these differences to what you see here. Much easier than just pulling down the highlights. Vlog-L is recorded in rec709 space already, so what you see here does not apply.

Hey hey again David! Thank you so much for checking out another video and commenting! Definitely play around with HLG as I continue to do my tests and eventually make a reference guide of how to use this color profile with a rec709 delivery! Eventually you may retire the GH4's and chances are the HLG will still be in the next GH cameras, so it may be a good idea to play with how you would use it for your shoots! Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker yeah and hlg is the direction things are going. Thanks!

Hey hey again Supperconductor! Thank you so much for checking out another video! I initially tried a curve in FCPX but it couldn't pull the highlight information down far enough for me to see what was retained, pulling down the highlight wheel was the only tool I was able to get all of the rec2020 date back into the rec709 space. But I do need to do more test for the next few videos showing my test and findings before I make a small guide on how I plan to expose for this profile know its extreme limitations. Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker Looking forward to your next video!

Greetings Дмитрий Поташов! Thank you so much for checking out this video and for the kind words! I will continue to do my best with this series and future videos for filmmakers and aspiring filmmakers alike! Hope to see you in the next one!

Greetings J T! Thank you so much for checking out this video and asking a question! While I am not using Premiere, I'd imagine the theory of what I'm about to say should be similar with what I'm doing in FCPX In premiere there should be a setting to let the program know what type of color space the project is in. For me I am telling FCPX that the project is a rec709 instead of rec2020. If premiere is auto detecting it could be going straight to rec2020. The reason it looks like I am clipped +2 stops over is because when you take this HLG and force it into a rec709, all the levels jump up very high and I have to pull it back down into the rec709 space to see whats going on. The +2 is also coming from in comparison against the other color profiles that were already blown out while the HLG with the exact same settings and exposure is still able to perform. So you still need to expose the codec within reason and not purposely expose it well over the breaking point of HLG. Hope this helps! I am still continuing to test different aspect of this profile before I release my own definitive guidelines of how to expose the HLG profile to ensure you are getting all the information you need when forcing it into a rec709 project. See you in the next one!

@@TLDR_filmmaker ah that makes sense thanks! The shot was still exposed well overall and I thought it was shot over exposed to begin with and got super excited lol. I was thinking holy crap it's like RAW! lol. I looked into it and believe at the moment PP is hard core rec709 with no way to alter the space. Maybe they will change in the future. Thanks for the reply and keep up the great work. :)

I believe, according to my colleague that Adobe CC 2019 has the rec2020 space. You're more welcome! I will continue to do my best!

Hey hey James! Thank you so much for checking out this video and asking a question! Nope, it does not matter if the final product is not HLG, when I exported these tests and examples in my HLG series of videos, all of them were confined and exported in the HD Rec709 color space. There are LUTS out there that will give you a good starting point from HLG down to Rec709, but it is not required, all I did was adjust my color and levels like normal. I have not compared it against Vlog-L as I don't have it purchased for my GH5, but from what I gathered from the comments people have left is that Vlog and HLG seem to have the same Dynamic range response and that the HLG is just a "baked" in look with the benefits of Log 10bit dynamic range curve. The HLG is definitely a nice magic bullet for me, it means I don't have to pay for the V-log L to get the extra dynamic range. And while I won't have a flat profile to play with, its ok with me. I now try to light my scenes as close to the final look as possible so that I'm not pushing colors as much or at all in post. Hope this helps! Definitely check out the other HLG videos I did, and hopefully I will finally get my HLG guide out at some point, too many new things came out of nowhere after I came back from NAB 2019! Thanks again for stopping by and I"ll see you in the next one!

@@TLDR_filmmaker Thanks Kevin...That is really interesting. I did just get the vlog upgrade, so I will get busy doing some comparison of the two. I also jsut started using a ninja v so I think I can actually see the hlg as I shoot. Win win. Thanks again great channel. subbed

You're most welcome and thank you so much for subbing! I truly appreciate you taking the time! Oh Sweet! Yes definitely do some testing between the two to see which one will help you yield the results you want. Definitely a win win with the Ninja V. I think one of these days I'll finally get an external recorder, but man I sooooo wish that Atomos will bring back the Ninja Star and update it to take in 4k/C4k. I have no idea why they have not brought that awesome product back.

Hey hey Felix! Thank you so much for checking out this video and commenting! The HLG definitely has a nice feel to it pulling it down in to the Rec709 space, much more pleasing gradations for sure! I've heard a array of thoughts when compared to the V-Log L, I'm curious what your take is between the two if you've tried both. Thanks again for stopping by and I’ll see you in the next one!

Greetings Simon! Thank you so much for checking out this video and commenting! The good ol Owen Wilson "wow" haha. Obviously can't say it'll ever match RAW, but it does seem that filming in rec2020 and forcing it into a rec709 space gives you some extra leeway in how you expose your scene. This is definitely changing my perspective of how far I can push my lighting of a scene to get an even more dynamic scene/location. Interesting times as I continue my tests. Thanks again for stopping by! Hope to see you in the next one!

I'm having issues duplicating this in Davinci Resolve which is what I use to grade my footage straight out of camera. I overexposed on purpose at time of filming by about 1.5 stops and I used the waveform monitor on the GH5 to see exactly where the clipping was happening. But when I loaded up the clip in Davinci Resolve it is acting as if the highlights are in fact clipped. I tried adjusting the input color space to some of the HLG colorspace options in there and I played around with all sorts of combinations of SDR and HDR colorspaces but I was unable to duplicate the same dramatic results. I did notice that when I changed the input color space to one of the HLG options that it instantly overexposed the image like way more than what I was visually seeing in the camera at the time of filming. So I'm not 100% sure if I'm just doing something different and maybe I'm seeing the highlight details preserved already at time of filming or if I'm just doing something wrong in Davinci Resolve or maybe Resolve just simply cannot duplicate the same results.I also used a Ninja V to compare apples to apples as far as what the waveform monitor was picking up on there as opposed to the waveform monitor in the GH5 and for all intensive purposes they were matching. As far as I can tell, at least in my setup, in HLG, if it is clipped in the waveform monitors it is in fact clipped in Resolve when I pull the clips up on there.This should go without saying, but I would like this form of "highlight recovery" to work. Am I doing something wrong? Can I use Davinci Resolve to utilize this form of highlight recovery at all? Am I asking too many questions?

Haha never too many questions because I have all the same ones. I don't think I was as clear as I could be with what was going on in my tests. I subjected my tests between the codecs with exactly the same exposure settings based on the basic color profiles and left those exact same settings as I shifted over to the HLG profile. This is where my +2 stops came from because I went well past on the normal color profiles but the HLG was still retaining details vs the basic color profiles. This sounds even confusing to me as I try to explain it, but essentially the basic color profiles (which are all rec709 default profiles) when shot in the same situations they were well blown out and beyond recovery, but when HLG was put into the exact same situation, I had 2 extra stops past the rec709's breaking point. As I continue my tests, my hope is that I will have a definitive guide that people can reference whether they are using the GH5's waveform and a basic external monitors false color. Unfortunately I don't have something like an Atomos to reference it for their monitors that can display the HDR. But yea, we both have a lot of the same question and I hope to figure it out and be able to put it into words so that filmmakers do go out and just light the crap out of the scenes thinking the details are still there. We'll figure this out!

um no! 3-5 stops with BRAW @Simon Settgast

Hey hey madjoints! Thank you so much for checking out this video and commenting! I don't think Simon meant it would rival BRAW, but allow us GH5 users to have some sort of flexibility in this baked in LOG look out of the GH5. Exciting times for BMPCC 4k users this week! Thanks again for stopping by! Hope to see you in the next one!

Hey hey again Henri! It's been a long while! Thanks for checking out another video! I have a quick question as our team decided not to invest in V-log yet for how we shoot, when you film in V-log does your NLE tell you if its a rec2020 or a rec709 codec? Someone told me that V-log also does the same amount of recovery but I couldn't find an answer if v-log also records in rec 2020 and gets conformed into a rec709 in post like I did. I think eventually we'll get to using V-log when we start having more different cameras on set, but for now we are all with the GH5 and light the scene to the cameras limits... but now this could be changing if we shoot in rec2020 with the intention of forcing it into rec709, this could allow us to light out more contrasting scenes than we did before. Thanks again for stopping by! See you in the next one!

@@TLDR_filmmaker Any clip that been shoot in log is hdr. And no, nle doesnt tell is my clip rec2020 or 709, but library does. Make new library, change it into hdr, make hdr project and you are good to go.

Ah gotcha, very cool! Thank you so much for following up!

@@TLDR_filmmaker no problemos

@@TLDR_filmmaker and that library guide goes for fcpx, I assume u use dat. Dunno how adobe works.

Hey hey again David! Thank you for checking out another video and commenting! It's a little confusing how this is all working and I will cover it more in my next set of tests and the definitive guide to help people understand how to expose for the profile. I have a regular monitor as well, the thing you probably need to do in Davinci is to let it know what color space you are working in and if the project will be rec709. You may even need to tell Davinci to interpret all your footage as rec709 and not its default. Right now there's a lot of things I still need to test because the GH5 waveform may still more or less be the same as 709 in that you don't just want to straight up film out of IRE 100 level on the waveform while in HLG. The key difference is how the GH5 exposes and reacts to light differently between rec709 and rec2020.... for sure the waveform on the GH5 and possibly the mode2 assist image with false color is going to be key on how you expose and bring everything back down into rec709. Because if you look at the waveforms you'd swear you're underexposing everything when in rec709 you're technically not.... Aghhhh its so hard to explain, the next set of tests will help me make a definitive guide for whats actually going on haha Thanks again for stopping by! See you in the next one as I continue this short series!

You don't need anything else if you intend to work in and export to rec 709. Just be sure that you set your project color space to rec 709 in the color management tab in the project settings (it probably already is). I've experimented a bit with HLG with my GH5s and find it to be a really great profile in terms of minimal noise and not needing a lot of work to get it looking good color wise

@@PhillipRPeck Big Phil! Clutch!

Greetings Viranimedia! Thank you so much for checking out this video and commenting! I unfortunately never purchased the V-log profile because our team rarely uses LOG profiles because we all have the same camera and just light the scene within the limitations of the color profile we use. However now that I am searching for the full range limitations of the HLG, our team may convert over to learn how to light for this codec. From what I understand, HLG will give me similar Luma range as the V-log, however V-log will give me much more flexibility to push colors, which we don't really do because the team now will light the scene as close to the final look as possible. I do hope to purchase V-log one day to play with and see how I would deploy it. Thanks again for stopping by! Hope to see you in the next one!

Hey hey again Jorge! Thanks for checking out another video and commenting! You know why? It's because you're freakin awesome man! Btw, really like your use of Gimbal movements in your wedding highlight videos. Quick question, do you use a motorized slider for some of the shots, and if so which one? Thank you so much for giving me your time! See you in the next one brother!

@@TLDR_filmmaker Thanks bro for taking the time to check out my work. No motorized slider, all manual. I just started using the YC Onion Slider (weird name lol) it's a 9" slider and it's super smooth. Love it. so if you watched the video I uploaded a couple of days ago, those shots are with this YC Onion slider. Before that I was using a Neewer 24" slider also manual. Dude I enjoy your work and your videos! Glad I subscribed.

You're watching for, "Roll that intro."

You're most welcome @Jorge Martinez ! Yup I watched one of the recent ones, really nice use of a small 9" slider! Definitely adds to your collection of shots and nice and compact to take with you! I truly appreciate your subscription, until the next one brother!

Totes, it's definitely a "Powerline" feature! It really "Stands out above the crowd" that it makes me want to "shout out loud" to GH5 users to consider the idea of using HLG with the intent to force it into rec709 space. *that was more fun than it should have been lol*

TLDR Filmmaker I believe you got what it takes... man if Xavier Cugat the mombo king were still around to see this Ah it’s hard to comeback your brilliant comment. Should through in a clip of that movie subtly into one of your videos.

Haha, I wish I could, but the Mouse Police will slam my channel with a hit and I don't want any strikes on my record...just yet until I'm big enough that I can claim fair use without them laughing at me lol

Greetings RAF700! Thank you so much for checking out this video and commenting! I unfortunately don't have V-log however some people have stated that the amount of highlight recovery between the two are the same. The difference will come down to how colors are interpreted as well as noise in certain IRE levels. HLG is free within the GH5 after firmware update 2.2 I think. So it's nice to know that there is a free color profile that can give you the same range of information as V-log. Hope this helps! Thanks again for stopping by and hope to see you in the next one!

@@TLDR_filmmaker Thanks for helping out!

You're most welcome!

Hey hey again Alex! It's been awhile! Thanks for checking out another video! Our production team made the decision to work generally with the build color profiles so we never invested in LOG as we light out scenes according to the color profiles strength. However someone else said V-log has similar highlight recovery properties and it seem to be true from the one test I was able to find that was close to mine. That being said, the team and I probably still won't invest in V-log, yet, and the main reason is because we are all filming on GH5's so we don't need the V-log style of codec to match a camera thats not Panasonic. We will most likely move towards using HLG with the intent of forcing it into rec709 space to gain the ability of having +2 highlight recovery if we are fighting against a high contrast scene. Hope this makes sense! Thanks again for stopping by! See you in the next one!

Nothing is wrong with vlog. It gives 11,5 f stops range. I love it.

Greetings John! Thank you so much for checking out this video and commenting! As far as I know Adobe premiere 2018 should be able to play with the codec in the rec709 space, 2019 I believe added the HDR feature or something. I'm not entirely sure and going off of my colleague who is using Premiere to edit the movie I helped shoot for him in HLG (Before I fully understood what it was capable of) Hope this helps! Stay tuned as I do more tests and create a definitive guide and reference for filmmakers that'd like to deploy this codec and what they need to be aware of when exposing their scenes. Thanks again for stopping by! See you in the next one!

TLDR Filmmaker Dude, you’re awesome! I hope you continue to produce content. You are very informative but also entertaining. I appreciate the response! Hope to see you at NAB or something.

Thank you so much for the kind words, John! You are most welcome! Well... you must be psychic, you're reading it here first and whoever reads this comment before I formally announce it. I got invited to go to NAB this year, so I will be covering the floor and whatever I find interesting to relay to filmmakers. It's an honor to go and I can't believe it, its like a filmmaker youtubers dream haha!

TLDR Filmmaker That’s so awesome, man! This will be my 5th year attending (never been invited though, haha) and it’s always a blast. Hopefully I see you on the show floor. I’ll be sure to say hello!

That's so awesome you've gotten to attend regularly, I hope I will get to do the same in the upcoming years. I will be wearing as TLDR Filmmaker T-shirt, so if for some reason you think its me but don't want to be seem odd and approach a stranger, just check to see if that person is wearing the shirt lol. Hope to run into you there as well, until then, keep on creating and making magic!

Right? Who needs a roof over your head when you got a camera that can literally be film in any sort of exposure and be brought back like it was properly exposed? Easily the best investment ever! haha!

@@TLDR_filmmaker This sounds like a sad short film, making fun of the industry, that you should be making.... huddled on the street corner, clutching the Arri, as it begins to rain, that highlight roll-off though....

Well to be fair I think generally the industry rents most of the camera equipments instead of us no-budget indie filmmakers where we own our DP kit. If anything it would be making fun of the people that say horrible misleading statements like "You're not a real filmmakers unless your filming on a Arri." Kinda makes my blood boil, cause you get beginning filmmakers buying a RED or something and have no idea why they are even getting it. I've seen it...and it makes me mad that that's what they believe they require.

@@TLDR_filmmaker It's actually ironic, because Arri footage can hide so many exposure mistakes and 8k RED footage can be used to create digital zooms to fix dolly and stabilization errors. If you make an error using a cheaper camera, the mistake is not recoverable, so you learn really fast not to make those mistakes.

I totally prefer and recommend people learn from the cheaper cameras to not make the mistakes. And get good enough with it to never feel the need to get a higher end camera. Cause lets be honest, its only a matter of time we get into a sudo level of those cameras and we'll eventually have that 8k (compressed) video too. While I love the idea of those cameras, I just gotta step back and say "dude....back then when someone wanted to be a filmmakers, all they wished to have the cam body that worked and could buy the film to roll through it..." Thats it, nothing to do with LOG, high bitrate, waveform monitors yada yada yada. They wanted it at the most basic level. I feel spoiled coming into the game in this decade, cause my early videos before I wanted to be a filmmaker were all on them Hi-8 tapes and MiniDV's haha!

Well.... The thing is, based on my calculations my face is about +2 stops of glowing ugly, so it was the best way to constantly use it to show the quasi highlight recovery from the GH5 HLG hahah! Hey hey Nico! Thank you so much for checking out this video and commenting! For this test I did not want to expose for clouds in the sky because the clouds are always reforming and changing in the sky while the sun is also changing slightly inbetween takes, this was the best way I could think of where I can control the situation while showing it on a textured skintone. But trust me, I got sick of watching my face too lol Thanks again for stopping by and I'll see you in the next one!