To put it in perspective though, it looks to be a pretty small shift of greens in the X-axis. I'd hope not, but Nick I think that you are right that I should give Blackmagic a chance to chose the preferred option before pushing an update to LUTCalc. Having said that, if DaVinci has a duff matrix hard coded into it, they may well decide to fix the primaries to the matrix. LUTs in the Creative folder appear in the Creative drop down list, and LUTs in the Technical folder appear in the Input LUT drop down list. Therefore, if you copied the LUTs while Premiere Pro was open you will have to restart the application. In theory it could be that the matrix is right and they mistyped the primaries, but having had to track down that kind of typo, er, more than once -), and considering that the difference appears in exactly one coordinate of one primary, I'd say the primaries have been published as intended. Premiere Pro scans these folders at launch and loads the LUT files. I'd say that looks to me like finger trouble, someone typing 0.1681 when they meant to put in 0.1618 for the matrix calculations. The only difference being the X value of green. Using the primaries and white point (D65) as published, and reversing things I make the primaries and white point: Alternatively map it to ARRI Log C gamut and use popular film print LUTs.Thanks for all the heads up - i can add it in easily enough, but as mentioned, the primaries / white point and matrices don't seem to hook up over the green primary.Īs they stand, I make the DaVinci-XYZ matrix: You may have to register before you can post: click the register link above to proceed. 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. New Posts Todays Posts Forum SONY - Video Cameras PMW Cameras (& temp FS7/FS5) If this is your first visit, be sure to check out the FAQ by clicking the link above. 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. 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. If you either use a number of clips or duplicate one numerous times, it should work. Rename the clip to the name of the LUT, and set a poster-frame on the view of the bin in thumbnail mode in the Project panel. This should now show on the clip in the bin. Respect the ISO1000 rating and be extra careful, do not over/under-expose more than 0.5 stop, ideally should be spot-on. Apply the LUT via Lumetri to the Master Clip tab of that clip. 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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