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D-Log to HDR (Rec.2020) workflow

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As the title says.

I can only find D-Log to Rec.709 workflows online. The way I always thought about it, was that 'log'-profiles in general store the most dynamic range, even compared to the HLG format.

This video suggests it's possible, but I can't replicate the result in DaVinci. Highlights clip off at 768 (using the same settings suggested under the video).

What is the correct way to do this? Or was (D-)Log never meant to be used for HDR in the first place?
 
I don't think I understand what you are asking. D-log or any "log" for that matter compresses the dynamic range allowing more headroom for an extended dynamic range. In the NLE one decompresses the log footage (often thought of as increasing contrast). Color space relates to the number of color divisions available. The more color divisions available the finer the graduations and the more latitude in color manipulation. The end results of both of these perimeters are the ability of the monitor to reproduce luma and gamma. I like to use Davinci wide gambit intermediary color space as the controls in Davinci work the best for me with this setting. I also use Davinci managed color space and tell Davinci the file is D-log. With this approach I am trusting Davinci to "decode" the log files for me. This is obviously not the only to approach grading in DR but so far from my experience it produces results I like and a reasonable compromise in complexity. Most of my work is done with raw files and they are my bench mark as I can do the most with them both in dynamic range and gamma. Using this approach I can get convincing results mixing log and raw. I'm finding that even D-log M from the Pocket 3 can produce great results although Davinci offers no option to decode D-log M as they do with d-log.

At the end of the day I believe experimentation with different approaches will best reveal the approach that works best for you. All of my monitors are rec-709 so the only benefit I get from extended color spaces are the responses of the controls within Davinci. The final image is confined to Rec 709.
 
As the title says.

I can only find D-Log to Rec.709 workflows online. The way I always thought about it, was that 'log'-profiles in general store the most dynamic range, even compared to the HLG format.

This video suggests it's possible, but I can't replicate the result in DaVinci. Highlights clip off at 768 (using the same settings suggested under the video).

What is the correct way to do this? Or was (D-)Log never meant to be used for HDR in the first place?
I am not an expert in video colour grading by any stretch of imagination but I am not sure what you are asking or what you are trying to demonstrate with that video. It is nice with a good dynamic range but other than that? I edit my videos in DR and simply apply the DJI LUT to either D-log or D-log M footage and tweak further in DR parameters such as highlights, shadows, saturation etc to my liking and am able to achieve good results with sunset shots, similar to yours in that video. My monitor is only capable of covering Adobe RGB colour space and I only view my videos on normal TV Rec.709 capable so to me the HDR Rec.2020 is an enigma I am yet to uncover benefits of🫣
 
I am not an expert in video colour grading by any stretch of imagination but I am not sure what you are asking or what you are trying to demonstrate with that video. It is nice with a good dynamic range but other than that? I edit my videos in DR and simply apply the DJI LUT to either D-log or D-log M footage and tweak further in DR parameters such as highlights, shadows, saturation etc to my liking and am able to achieve good results with sunset shots, similar to yours in that video. My monitor is only capable of covering Adobe RGB colour space and I only view my videos on normal TV Rec.709 capable so to me the HDR Rec.2020 is an enigma I am yet to uncover benefits of🫣

Yep, I am still trying to figure out when it is worth filming in D-log M, vs. normal. D-log M when the light is flat? Pretty sure there is no reason for me to record in HDR/HLG...
 
Yep, I am still trying to figure out when it is worth filming in D-log M, vs. normal. D-log M when the light is flat? Pretty sure there is no reason for me...
The bebefit from shooting in D-log as I understand it is to maximise the dynamic range. So when shooting high contrast scene it is a good idea to shoot in D-log as the footage preserves more information in highlights and shadows. The highlights and shadows are compressed by D-log and that information is then utilised in editing software. By applying LUT to D-log footage in essence decompresses the info. It is a bit like unscrambling the eggs so to speak. The final video will have greater dynamic range than if it was shot in Normal mode.
That is at least my understanding of benefit shooting in D-log
 
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The bebefit of shooting in D-log as I understand it is to maximise the dynamic range. So when shooting high contrast scene it is a good idea to shoot in D-log as the footage preserves more information in highlights and shadows. The highlights and shadows are compressed by D-log and that information is then utilised in editing software. By applying LUT to D-log footage in essence decompresses the info. It is a bit like unscrambling the eggs so to speak. The final footage than has high (-er) dynamic range.
That is at least my understanding of log
Thank you!
 
Yep, I am still trying to figure out when it is worth filming in D-log M, vs. normal. D-log M when the light is flat? Pretty sure there is no reason for me to record in HDR/HLG...
If you are shooting something with a large dynamic range e.g. bright sky and deep shadows, log will help you get more of that dynamic range to work with. The other consideration is that "normal" has a "look" baked in. Many cameras will give you some choices of look like "vivid", "flat", "standard", etc. It is meant to be a finished product out of the camera, no color grading necessary. Log will need color grading to achieve a "look" in post. From my understanding of HDR/HLG, you will get more dynamic range than "normal" but not as much as "log". I've tried the format and don't care for it. Like "normal" it has a baked in look. I like the extra control over the look in post that "log" offers.
 
正如标题所说。

我只能在网上找到 D-Log 到 Rec.709 的工作流程。我一直认为,即使与 HLG 格式相比,“日志”配置文件通常存储了最多的动态范围。

该视频表明这是可能的,但我无法在 DaVinci 中复制结果。高光剪辑在 768(使用视频下建议的相同设置)。

正确的做法是什么?或者 (D-)Log 从一开始就不适用于 HDR?
刚买了一台大疆Mini 4 Pro无人机,但是对于如何使用这台无人机的D log-M模式将其还原为HDR视频,我心存疑惑,因为D log-M模式对应的色域是Rec 709,而HDR所需的色域是Rec 2020或Rec 2100。希望得到一些解释和帮助,谢谢!14:19/-strong/-heart:>⭕-(:)-h
 
谢谢你!
Rec.709 LUT(查找表)并不适合直接用于 HDR 视频制作。Rec.709 是为标准动态范围 (SDR) 视频设计的色彩空间和伽马曲线,而 HDR 视频使用不同的色彩空间(例如 Rec.2020)和伽马曲线(例如 PQ 或 HLG)。
 
如果您拍摄的是动态范围较大的物体,例如明亮的天空和深阴影,Log 将帮助您获得更多的动态范围。另一个考虑因素是“正常”具有内置的“外观”。许多相机会为您提供一些外观选择,如“生动”、“平面”、“标准”等。它意味着相机的成品,无需颜色分级。Log 将需要颜色分级才能在后期实现“外观”。根据我对 HDR/HLG 的理解,您将获得比“正常”更多的动态范围,但没有“Log”那么多。我尝试过这种格式,不喜欢它。像“正常”一样,它具有内置的外观。我喜欢“Log”提供的对后期外观的额外控制。
使用 DJI Mini 4 Pro 无人机,DJI D-Log M 模式,DJI 给我们的Rec.709 LUT(Lookup Table)并不适合直接制作 HDR 视频。我尝试制作 HDR 很多次,但 HDR 所需的色域是 Rec.2020,DJI 无法提供 Rec.2020 LUT,网上也没有公司提供。我们要明白,Rec.709 是为标准动态范围(SDR)视频设计的色彩空间和伽马曲线,而 HDR 视频使用不同的色彩空间(如 Rec.2020)和伽马曲线(如 PQ 或 HLG)。
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