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You are misinterpreting Juans video and confusing yourself. Resolve retains all values, even when they are pushed outside the legal ranges. Please open Resolve and do the following: Pull in a test clip Node 1: Adjust curves so that you make the image very bright and really really clipped Node 2: Adjust curves so that you darken the clip so the clip comes back into range You will see by doing that test that even through the first node pushed the clip very far above the white point (100% brightness) that the data was still there and re-appears when the second node pulls the levels back down into the legal range. Juans video on the URSA Mini is talking about many advanced concepts and he uses his words somewhat loosely which can be misinterpreted if you're not 100% clear on the order of operations in Resolve and what each operation does. He moves very quickly and if that video was made by any other YouTuber it would have been 40 minutes as they clumsily explained each button-press and what was going on, whereas Juan just assumes you've got the knowledge and can keep up. If you are going to look at Juans videos then I'd suggest doing what I did, and starting with the most basic ones, study them like you're at college/university and like there will be a test on them. Recreate each node tree he shows, and play with it. Read about each colour space and gamma curve that he mentions. Read the Resolve manual for the Colour page. If you didn't study the highest maths in high-school then go and learn the maths behind Linear and Log, learn what cartesian and polar coordinates systems are and how they work (RGB is cartesian and HSL is polar). Read about human vision and hearing and understand the relationship between the physics of light (Linear), the mathematics of Log (ln(2)) and the perceptual experience of light and sound (ln(10)) and how they relate to Dynamic Range. It took me months to be able to wrap my head around what he's talking about in that video and I have a computer science degree and spent a decade in audio where I was reading about everything in the signal path including psychoacoustics, which there are strong parallels between the signal path of light and the signal path of sound, even deep into our perceptions.

The colour science that manufacturers have created isn't as magic as most people think it is. Yes, it's very nice, but you don't have to spend that much time grading to learn how to make well shot footage look pretty good even if you're only using manual controls. Yes, you'd have a pretty hard time replicating the CS from Canon or Arri, but getting 80% of the way there can be done just by shooting well and doing a few basic adjustments.

I think so. This post (https://www.liftgammagain.com/forum/index.php?threads/lab-processes-before-the-digital-intermediate.12923/#post-129058) from Marc Wielage describes a workflow that doesn't seem to include a conversion: Assuming I am interpreting correctly, Marc may well use a conversion to get the files into a log format and then goes manual from there. HLG is a log format but has a pretty extreme curve so that might not be the best curve to start with. Having said that though, here's some tests. GH5 HLG image with no processing: GH5 HLG image with CST (rec2020/rec2100 HLG to rec709): GH5 HLG image with contrast, saturation, and a slight hue rotation of all colours to get skin tones in range: Are they the same? No. Is the manual one nicer? Not really But you can't deny that it's pretty similar to the CST. They're just different. As a more general comment, this test took be about 10 minutes and that included finding some music to put on and finding the project with these test shots in them. Before you make a statement or ask a question, ask yourself if it's about something you can actually test yourself, and if you can, try it out and see what actually happens. Grading is so easy like this because you don't need to actually go shoot anything, you just fire up Resolve / FCPX / PP and click a few buttons and see what happens

The video was on YT, but appears to have gone now. I remember it well. What I was talking about was that you can grade using technical transforms, or just with the tools. Juan is obviously a fan of the technical conversions, but there are other more old-school pro colourists who have straight-out told me they just grade LOG footage by using contrast/pivot/saturation and then the LGG wheels. What Juan was talking about in the Linny rebuild video was about being as accurate as possible in emulating something, but the guys who grade freehand are just looking for a nice image using the motto "if it looks good then it is good". Colour grading can be as simple or complex as you like, and I've heard that most footage shot well just needs a WB, contrast adjustment, and primaries, and then everything (including skin-tones) will just drop right in place.

@Jimbo Great stuff! My criticisms are more general in nature, and to a certain extent everything about it could have been "better", but I think there are a couple of huge caveats that need to be talked about. The first is limited time. 8/8/8 hours is a huge restriction on something like this, and everything about the final result was of a good standard. Not great, but solid. The editing could have been tighter, the shots could have been more varied, camera angles refined, sound more natural, VFX improved, etc, but for such an extremely short process these are all things that I'm sure you could improve given a lot more time. With the time limits involved I think you did very well. The second is that this is not an easy piece to shoot. What I mean is that the acting skill required was significant. I thought your brothers performance was quite good, but not great, but this is a world away from an easy role. It called for the main character to be distraught, drunk, partly incoherent, (literally) suicidal, and completely overwhelmed with grief. These are the emotions that separate the great actors from the spectacular award-winning actors, so combining the fact that there wasn't a month of rehearsals followed by a month of shooting I think you did very well. I've been on shoots where the main actor absolutely nailed the monologue on take 27 and that's the one that ended up as the crown clip in their showreel. Of course, this occurred at 3am when we'd been shooting for 6 hours and they'd also worked that day in their day job and part of the emotional delivery was sheer exhaustion on their part. We can always do better, but one of the main things you achieved was actually finishing it and publishing it. That's harder than it sounds

This stuff is different.. these people tend to actually prepare!

I've seen a few setups that I thought (?) ran of iPads and used speech recognition to scroll automatically? it's not that difficult a technical challenge these days. I didn't look at them in full detail as I'm not in the market for one, but I do remember thinking that it was a solved challenge and wasn't that difficult to get a good setup.

I've seen lots of live streams pop up in my YT feed, which is normally much higher percentage of edited content. I must admit I'm not a fan. Watching someone read the chat in real-time mixed in with "is this on" and then deliver unrehearsed unfocused content just makes me angry that the person chose to waste my time instead of spending theirs editing. Professional live streams are like TV talk shows or the news and require large amounts of hours of prep and a crew of multiple people. Most streaming online is like watching the dailies from a set that never hit stop between takes. The minimum number of people required for a professional live stream is three: someone to control the tech someone to present the content someone to manage the chat and feed good questions to the presenter so we don't spend minutes at a time watching them read the chat They also require a huge amount of preparation - to the extent that the presenter can deliver the content with crystal clarity and almost zero mistakes.

My logic of HLG -> rec709 -> HLG = HLG will work if you use the CST, which is what I was doing. You're right that the HLG has colours or gammas outside the range of rec709, but Resolve retains those out of range values non-destructively - that's why Juan uses CSTs instead of LUTs. In terms of the logic about gamma vs colour space, I was interested in finding a technically correct way of converting as I am interested in doing some exotic things rather than just getting an image that looks good. Those exotic things require an exact match and that's what I was looking for. One of the things that people don't realise is that with gamma curves, the LOG curves are all very similar to each other, with the main difference in DR. If you haven't done it, try taking a shot that's been shot in LOG (of any variety) and make a bunch of copies of it on the timeline and grade each of them like this: Curves adjustment where you adjust the highest point and lowest point for setting white and black points in final image CST from <gamma> to rec 709 Add saturation Make each clip have a different <log gamma> in the CST and adjust all of them to have the same white and black points. Then go through them and see how each of them looks. You may be surprised at how similar they are. LOG curves are based on a mathematical function called "log" and while each manufacturer does push and pull their own versions for various reasons, they're very similar. It's the same thing with RAW - all RAW is Linear and so you can use just about any Linear space on any RAW image. They won't match exactly but the differences will only be very slight. If you're just interested in getting something 'close enough' then Rec2020 or Rec2020 / Rec2100 HLG is fine, and is what was recommended to me over at LGG by the pros: https://www.liftgammagain.com/forum/index.php?threads/grading-gh5-hlg-for-rec709-output.11858/ It's great you're watching Juans videos, I've watched each of them dozens of times. One thing worth noting is that there are two schools of thought about grading, one is Juans approach which is very technical and the other is completely non-technical and just involves taking any input and using the normal grading controls to make it look good without converting or anything. I see advantages in both approaches, and it just depends on what you're trying to achieve.

I shoot HDR for the DR too and tried to find a conversion for it, but couldn't find one either. I did an experiment where I shot two clips, one with a SS that gave a normal exposure and one with a SS twice as long, so the second clip would be brighter by one stop. I then tried to convert from <insert gamma profile here> to Linear, brightened the clip by a stop, then converted back from Linear to <insert gamma profile here>. In theory if I picked the right profile then that transformation should make the first clip identical to the second one, but I tried all the profiles I could find and nothing matched. I figured that if neither rec2020 or rec2100 matched the gamma of HLG then likely that the colour space wouldn't be an exact match either. So no, it's not 'correct', but with grading if it looks good then it is good, so if it's working for you then go for it

This guy wins.....

If it's an FD optically then it should be of very high quality. I only own one FD lens, the 70-210 F4, which I don't think was particularly high end at the time, but man is the build quality and optical quality just superb! The FD 2X TC I own is also excellent. Usability is definitely a factor, but I'm guessing this might have been a bargain @noone ?

Unfortunately, HLG on GH5 doesn't align with any of the colour spaces in Resolve, regardless of the workflow. I'd suggest trying all of the variants of rec2020 and rec2100 and see which one suits your footage best, and then adjust from there.

Good idea to document this decision and journey. Regardless of the decisions made in the end the footage will be valuable on a personal level, and if they do decide to get involved then there will be a lot of demand for stories once we're over the peak of this thing. It might even help to offset some of the financial losses due to cancellations. We're not on lockdown here in Australia, yet, but who knows how the trajectory will go.

Ah yes, that sounds about right.. and considering that I'd only use Vimeo because I wanted their higher quality, any video will be more than 500MB. Whereas YT has no limits and doesn't buffer endlessly for no reason.. Game over! Maybe we just use this thread to post entries?

I'm guessing that won't support YT uploads? I have vague memories of Vimeo having some kind of restriction on uploads if you aren't a paying member? I auditioned it as the platform I was going to share my random camera test videos and ended up on YT because there was some problem with Vimeo.

Tom Antos on shooting with a single lens...

Considering that my trajectory was a 4K cine camera (XC10), a 4K non-cine camera (GH5) and latest purchase is a 2K cine camera (BMMCC) I have enough data points to confirm that 8K is definitely not on the trajectory I am taking!

Stop motion! Yes, that makes sense. It turns any 12MP camera into a 4K BEAST!!

@Michael1 I agree. I see three factors in play: The first is that cameras bitrates and DR and processing has improved to the point that 4K h264/h265 isn't that much worse (on well lit material) than 1080 RAW, especially if the compressed codec is 10-bit or more. The second is that the in-camera profiles are the result of a huge investment in Colour Science and processing by very skilled technicians, much more skilled than most colourists. The third is when using in-camera profiles the compression is applied after the adjustments have been made rather than before it. This matters because most compression schemes are optimised for hiding the data loss in areas of the image we don't look at much or are less important, however if we record in a flat profile then it might be that when we process the flat gamma curve that we're pulling parts of the image from where the compression was a bit more severe into the parts of the resulting rec709 image that we're more sensitive to.

If we're stuck on lockdown, how the hell are we meant to shoot FILM and then get it developed and scanned?!?!?! Unless somehow you're in lockdown but live in a vintage film museum or something!

A lot of people have been asking why we're not all working remotely by now, considering the tech has been there for years, and it's been obvious the barrier is humans not machines. I wonder if this will have had a significant effect on that barrier, by the time we're done at least. It's a good idea to use the time for educating ourselves for something that will serve us well down the road. The photography / videography market is changing rapidly, and in "change or die" markets it's typical to see people who change, and to see the people who don't survive be the ones that are bitter about it. There's always an upside, if we can just find it

@BTM_Pix I know you didn't explicitly call for it, but "Having a couple of lens world cup shootouts to try and thin the collection" gets my vote! The One Room challenge isn't too bad either We're not on lockdown over here, but who knows what will happen. Our arc with this thing is just beginning.

In case anyone wants to overcomplicate their selfies, here is a couple of videos to take things to the next level....