2020’s color range specifications are a dramatic step up from the color range of the BT. These LUTs simply tone map log images into a viewable color space such as Rec. ACES: This system is based on CIE XYX for digital cinema production, post-production and … As a point of reference, middle grey for Rec-709 and the 709(800) LUT should be at, or close to 44% and white will be 90%. We’ll be looking at: Bit depth – 8, 16 and 32-bit float. This video is a color grading tutorial in hin SRGB has a gamma of 2. This is another way of describing the number of colors they can reproduce The original Rec. The sRGB transfer function is very close to, but not identical to Rec. , more colorful), but also that the red is shifted a bit to yellow. I can't tell the difference between rules and preferences in color grading, yet.What is rec 709. but aren't you supposed to make basic corrections BEFORE Rec.709 conversion?". I'm new to all of this and I just see things like camera LUT's in FCPX for SLog2 and I ask myself many questions like "why aren't there any LUTs for HLG?" and "camera LUTs are applied on media level before effects. I would be thankful for every answer that can provide any clarity, whatsoever! Even if it's something like "HLG isn't fully supported yet and you have to find a workaround" or something. ![]() Can I do the same with Rec.709 as color mode or are the HDR-Tools only designed to work with BT.2020 color space as input?Īnd what also confuses me: Why is the footage blown out when I import it, but not in Davinci Resolve? If FCPX shows me the raw HDR data and thats why it's blown out, then why isn't it blown it in Resolve when I didn't apply any CST or LUT to it, yet?ĭo I even NEED to convert the gamma or can I just bring down the exposure? Is this, or something else, an option that I have? With BT.2020, I would import it and then use HDR-Tools to convert it to Rec.709 SDR. With Rec.709 FCPX can't even read the metadata correctly (with BT.2020 selected it shows me that it's "Rec.2020 HLG" footage). When I import my HLG2/rec.709 footage (in a Rec.709 Project), it looks completely blown out. Now, I would like to do my editing in Final Cut Pro, and it would be great if I could also do my colors in there, but FCPX is way more confusing. But what do I select as input gamma to transform to Rec.709? I've read that I should select Rec.2100 HLG, and somewhere else a dude said that that would be wrong and I should select Rec.2100 (Scene). For color space, I guess I would select Rec.709 as input for Rec.709 color mode, and Rec.2020 for BT.2020 color mode. But I haven't found obvious solutions for HLG2 gamma. This would seem very easy for something like SLog2 gamma with S-Gamut color, as you can simply select the options as input. Select input color space and gamma and the same for output, and you're done. ![]() ![]() In Davinci Resolve, people say to pick the Color Space Transform tool. I saw a dude on YouTube (Jason Vong) sharing these settings, and some of his footage looks really nice, so I decided to go with it.Īfter watching a couple videos, I think this is what the workflow usually looks like:ġ) Color and Gamma Transform or Conversion LUT to Rec.709 and Gamma 2.4Ģ) Basic exposure corrections BEFORE the Transform or LUT from 1)ģ) Creative Grading after Transform or LUT from 1) After very superficial research, I decided to go with a picture profile with HLG2 gamma and the color mode Rec.709 (NOT BT.2020) for video recording. So, I have a Sony A7C and I make guitar cover videos on YouTube. I can't find a definitive answer on the internet to the questions I'm about to ask. I'm a noob when it comes to color grading.
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