TopherZ

Also no one even talks about the use of “HDR Tools” which needs to be placed at the top level of the effects stack. It is necessary to correctly tone map the highlights of perceptually quantized footage that describes BT2020 PQ. F-stoppers and Wolfcrow and many others are describing Pro Res RAW workflows that are not correct for producing proper HDR such as Dolby Vision using the Z6 camera.

Unfortunately no one is doing a proper workflow for HDR. Output to BT 2020 PQ in any form of HDR such as Dolby Vision. Dumping this exquisite footage into a Rec.709 timeline and exporting to 8bit SDR is a complete and utter waste of time. Export to 12 bit HDR or leave us alone. How do you do this you export to Pro Res HQ which can incorporate 12 bits data to stream on YouTube or Vimeo. Understand 12 bit raw has 68 billion colours why oh why oh why are you playing with N-LOG S-Log or any Log, when you have so many stops of dynamic range. Use Log with 10 bit Pro Res not Pro Res RAW. Never use Log with Raw! Understand the destination is Dolby Vision or at least HDR10. Not SDR!