Since this post, I've standardized on creative style as it works with both mechanical and silent shutter for consistency. I do not think its perfectly accurate but it makes the histogram closer to the RAW file DR vs Jpg and I rarely get overexposed shots except for specular highlights which cant be avoided anyway and it sure makes lifting the shadows a lot cleaner.
I just use the profile to tweak the histogram to be closer to displaying raw dynamic range since you get about 2 stops more DR in raw vs jpg. Normally the histogram is showing for jpg. I have been adjusting the profile for the same purpose.
What's your finding? In other words, what have you found that best approximates the real raw histogram? I like the idea of ETTR. But it is important not to over expose the images as highlight recovery is more difficult. Gamma set to HLG3. With the R3 I'm shooting in Aperture mode now using highlight metering mode, auto iso from to 32k.
One other concept I try to keep in mind is if the scene is such that I know I wont be lifting shadows in post I just expose it normally because will be shooting at lower iso with higher DR, example would be in the woods where its somewhat dark but sun is shining through trees in places and I will be OK with dark shadows.
I was switching bunnings sleepouts and forth between the 2 profiles but now I have mostly been using creative style, I like using the silent shutter all the time, but I much prefer using PP10 if it only worked with silent shutter! If you have neutral creative style set with the -3 contrast and then turn on PP10, it automatically turns off creative style and uses PP10 then if you turn off PP10 it automatically goes back to creative style neutral again, basically just toggling pp10 on and off will switch between the 2 profiles which is very handy I have picture profile set in the function menu for easy access.
I also use DXO for post and set exposure compensation to "Center weighted average" and it normally does a good job of automatically lowering the exposure pretty close to normal. If you are doing something different that's working i'd be interested to hear your story as well.
In terms of actual metering, the mode appears to yields an exposure that puts the brightest portion of the scene in the center of the histogram. This is the same as if you had spot metered the entered scene and then selected the highest reading and centered on that.
This results in an exposure that puts your highlights well below 2EV from raw highlight clipping, at least when the sky is the metering subject different subjects may have different than average reflectivity; also keep in mind that other color channels may clip earlier than the blue channel. Thanks I had seen that post already.But which one to choose and why? There are many options available and how can be sure that going with SLog is always the better choice?
In the following videoHenbu makes a comparison between the two. For this particular shooting, we have the seaside in San Diego on a nice sunny day. This gives us a nice testing ground. There is a great range of situations available from harsh and bright direct sunlight to some softer and cooler shadows with a bunch of silhouettes in between, a perfect playground to test the dynamic range of the two color profiles. Besides the fact that the images are great looking, you can try and guess what profile was used in this comparison as it could be a nice way to test yourself and your eye.
The skills of the colorist, in fact, could completely change the results of the final image, ruining the best one or saving the flaws of the other. Coloring skills apart, the images have a nice grade, the harsh light is handled very well by both the profiles. We can see a nice and smooth rolloff in the highlights and the noise in the shadows is not so overwhelming as sometimes it can be. All in all, it takes a little more time to expose correctly the SLog footage.
It should be what you usually call ETTR expose-to-the-right meaning that the histogram should be leaning toward the right on the bright side. In other words, the image should be a little bit overexposed to get optimal results. That is also to avoid too much of the frame to be underexposed since those areas tend to have a lot of noise in log images.
So concluding this little blind test, what do we get? If you move around, light is changing and such, you should better go with the HLG.
The couple of stops of extra dynamic range you get from the Log footage in that case are not worth the hustle. If instead, you have some tricky situations, where you need to push to the limits of your camera, or where your lighting does not change so much or you can control it well, then the SLog flavors could be the better option.
Get Instant Access!It offers up darker blacks, brighter highlights, and generally richer, more vivid color. Why do we need yet another HDR standard? Second, no other existing HDR technologies are easily backward compatible, meaning that not only are owners of older TVs out of luck, but content needs to be produced in both HDR and non-HDR varieties. Both were intent on creating a new broadcast-friendly HDR solution. Looking to avoid the same sort of troubles that we saw in the early days of HDTV, when some networks would have SD and HD versions on different channels, the two broadcasters were looking to create a more all-in-one solution.
HLG takes a different approach.
The extra information for HDR rendering is added on, so an HDR TV that knows to look for this information can use it to display a broader range of colors and a wider range of brightness. This is what makes HLG especially well-suited for broadcast. There are a few more advantages to HLG aside from its compatibility.
While other HDR solutions can require an extensive overhaul of the production workflow when it comes to the people making the shows and movies you watch, HLG allows studios to use most of their existing equipment, with only a few changes.
Correct "Expose to the Right" HLG implementation please
Not everything about HLG is perfect. There is also one issue with compatibility. Because of this, the video actually using HLG is currently scarce. Support for the standard does seem to be on the way from quite a few of the major players in the industry. For the time being, the U. When it comes to hardware and software, the number of companies supporting the standard grows significantly. HLG seems to be picking up steam, with more and more products released with out-of-the-box support, so expect to see it more often moving forward.
Finally, major support for HLG has come from Google. As mentioned above, some major players have announced plans to use HLG, and could be the year that we begin to see them rolling out support. Widespread mainstream support could be further off, considering that major TV providers are only just starting to roll out the occasional 4K Ultra HD content.
In the meantime, if you want to know more about this subject as a whole, check our guide to all things HDR. The best TVs for 3 days ago. The best streaming devices for 3 days ago.
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ETTR with Sony A7R III
Stay entertained this weekend with a free Hulu No Ads subscription 1 day ago. Apple Music on the web exits beta and readies for the One World concert 1 day ago.There are so many new content formats found in modern-day televisions that it can be hard to keep up — especially because most of them have confusing initialisms, like HDR and HLG.
But what is HLG? Does your TV have it? And why should you care if it does? HDR already comes in several different guises. The issue traditional broadcasters have is that many of their viewers still hold on to old SDR television sets, which can't display the increasingly prevalent HDR standard.
SDR is also much cheaper to film in, and the likes of the BBC are naturally reluctant to ditch a cost-effective format that tens of thousands of viewers still rely on.
HLG mode for Perfect RAW exposure
It's a far more efficient process for broadcasters, who then don't have to provide twice the amount of bandwidth to transmit their programming across the country in both SDR and HDR. SDR and HDR information are both converted into two types of light coding, which can then be unpacked separately depending on the compatibility of the television.
While having a single dominant format would no doubt be simpler — for users who just want to get on with, you know, watching the telly — the competition is no doubt driving up the standard picture quality we expect from our television screens.
HLG is only one of numerous HDR formats out there, which are all doing different things and are suited to different purposes.
Like HLG, it's an open-source format, meaning that anyone can use it, and it delivers on a wider color palette than SDR, with bit color depth and a peak brightness of 4, nits.
Dolby Vision is a well-regarded alternative, that can reach up to 10, nits brightness and a bit color depth, and generally offers a better picture. HLG is specifically made for the ease of broadcasters, meaning it forgoes metadata that could get lost or out of sync during a live broadcast.
As with any new format, HLG will only be as strong as the players who support it. Panasonic has also supported the format in a number of its premium HDR sets. Even with only those four minutes of content, we were delighted to learn that there is a real audience appetite for better quality pictures, and more of them. Hybrid Log Gamma will no doubt start appearing on more televisions, content platforms and the like, though in a heavily competitive market you never know what's going to last, and what will fall by the wayside.
According to the BBCit's still working to develop "a complete HDR ecosystem", which involves a lot of research and development. But it seems that the innovation of HLG generally has been a bit quiet in recent years. Read more in our comprehensive guide to the television format HDR already comes in several different guises. So what is Hybrid Log Gamma? Exploring the different color contrast for viewers. How does Hybrid Log Gamma work? And why does anyone need Hybrid Log Gamma?
What's next for Hybrid Log Gamma?Enable browser notifications to stay up to date with all the Alpha Universe Updates! Create your profile to get all your Alpha Program notifications in one convenient location. As a landscape photographer, there are four technical aspects I always perseverate over: lens sharpness, sensor noise, image resolution and dynamic range. The first three I can judge as soon as I take a photograph. What I cannot scrutinize, however, is dynamic range, because all previews on a digital camera are based on the corresponding JPEG algorithm used to generate the preview.
You could use the histogram, of course, but there is one drawback to that. A histogram only shows blown highlights once all three channels RGB are out of range. If just one is out of range, the histogram will not reflect it. Then find the Zebra Setting. However, if you shoot in RAW format, this file will give you the maximum highlight detail. You can adjust contrast and saturation to taste in post-processing, content in the knowledge that you eked out as much highlight detail as possible without blowing them out.
When evaluating your scene, increase your exposure compensation until you see the zebras turn on, which indicate areas of blown highlights or color channels. Show me: Hit enter to search. Stay up to date Enable browser notifications to stay up to date with all the Alpha Universe Updates!
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Did you like what you just read? Take a minute and share this story with your friends. Share on LinkedIn Share on Flipboard.By androidladFebruary 2, In: Cameras. I'm pleasantly surprised by the refreshingly new colorimetry and better not higher dynamic range distribution. So long F-log! 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.
Reds are deeper and richer with very little orange shift seen in F-log images. Also, HLG makes full use of 10bit code value, while F-log throws away which could contribute to banding. HLG wasn't intended to be an acquisition format so there's very little room for error.
In low key scenes like the one aboveshadow area will have visible grain, with ProRes HQ 10bit 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.
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. HLG has a slightly cooler white balance compared to F-log and film sim, so be careful setting the kelvin value.
Factor this in when lighting and developing looks for your film. In post, use a BT. Not really sure that the HLG is better. On the attached screenshot, I prefer the Flog. It's about saturation, colors, contrast. In particular, the dark parts are gray on the log. On the HLG the dark parts are blue. I will do my own tests to check. Looks like it is pulling back contrast to be honest.
Sort of the opposite of what I would expect in HDR. HLG colour is more true to life, and the blue hue in the shadow is correct while F-log is more magenta, not grey. Shot a bit of stuff HLG and the exposure was at 0. A cleaner way - if using Resolve - is to use a CST node. Luminance mapping helps. Still cleaner than using a LUT. A 65 LUT shouldn't cause too many issues though to be fair. Thoughts on it? There is indeed a small problem with the magenta hue. But for me the problem is also present with the HLG.
Download the attached video and play frame by frame and watch carefully the blue bag and sunhood on it. I find that the white balance is very difficult to do on the HLG. WB is correct on the gray card but not on the back white wall. What bitrate did you use? And LUTs? I noticed that WB was set to auto for both shots, so we don't really know what kelvin and tint the camera decided to use.I've got my A7III and am trying to implement the expose to the right trick discussed on this page:.
So I just wanted to check if I'm incorrectly implementing the DPReview trick or if this really is a limitation of this method of metering. I've tried this and it works without affecting ISO values. The Fujifilm X-T is a low-priced mirrorless camera with a stunning 3.
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Submit a News Tip! Reading mode: Light Dark. Login Register. Best cameras and lenses. Started Dec 29, Discussions. Forum Threaded view. Dec 29, Thanks in advance for your advice Luben. Of course, this doesn't affects at all the captured RAW image. ISO continues starting at the normal value of Setup the Gamma Disp. Assist to Auto I think it is Off by default.