![]() 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. HLG has a slightly cooler white balance compared to F-log and film sim, so be careful setting the kelvin value. 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. X-T3's HLG implementation follows ARIB STD-B67 NHK spec which places middle grey much much lower than BBC spec. In the next box select Iridas as the file format, 65 as the number of mesh points, and click Save. An external monitor/recorder with custom 3D LUT feature is a must. Select that and apply it to the sample image, then go to File > Export > Video Parameters as 3D LUT. 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. 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. Hi sobotka, 'Linear / Rec709' is the umbrella for all conventional gammas (linear being effectively gamma 1.0). 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. Theres also a heck of a lot of useful information in the application too that will be of benefit. If you have an FS7 and dont have LUTCalc youre missing out. HLG with Alexa LUT generated by LUTCalc, no grading, WB 5300K, Shift 0: Cameramanben has provided the LUTs in LUTCalc plus a shed load of other useful LUTs as well. 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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