HLG, Lumix G9, and workflow to deal with it in DaVinci

Hi All,
I have a couple of questions regarding setting my Panasonic G9 in HLG mode (422 10-bit 150mbs setting). I’ve recently started using this format and would like advice on optimising the settings for the best results. Currently, I’ve set noise reduction and sharpness to -5, but I’m curious about the ideal saturation level. I’ve set it to -3, but would appreciate more insights on this.
Additionally, I’d like guidance on the workflow for handling HLG footage in DaVinci Resolve to take advantage of the format and render to watch mainly on a TV set ot upload on YouTube. Could you provide some steps to ensure I preserve the benefits of the HLG format during post-production?
Thank you in advance!
Best,
Alek

First word of caution, if you are on Windows or linux you will need to paid version of resolve to open those files. Mac free will work fine.


I support minimum sharpening and NR in camera. This is always a one way street, and best done in post.

Saturation if not 'excessive' is less of an concern, you can back it off in post. Especially since there is no way that camera is going to exceed the capacity of REC2020 color space.

If you like the way -3 looks, go for it. If setting it to 0 makes less work in resolve, do that.

Darren Mostyn is my go to guide on resolve color management youtu.be/c4AVwVdKTHc?si=im_wS-l5K6FJoj-a

If your intention is to Monitor and Deliver a REC2100 HDR file to YT, this is not a trivial process. Up until recently a separate IO device was needed for Resolve to display HDR. This changed, but I haven't seen the process discussed (I don't own an HDR monitor myself). So some homework here will be needed.

Getting YT to recognize your exported files as HDR is also sometimes buggy. Exporting a Prores 422 file and checking its metadata with MediaTool is my recommendation.

YT details the metadata requirements here https://support.google.com/youtube/answer/7126552?hl=en


Do expect these files to look horrible for a viewer on an SDR screen. You can provide YT a bespoke SDR conversion LUT, but otherwise you are just rolling the dice with whatever tone mapping they choose.

Capturing in HDR or LOG and delivering to REC709 is certainly a much more common workflow and will remove a bunch of the pitfalls I mentioned. And what I would recommend for a beginner.

HLG is fine if you want to connect your camera to TV and watch but I prefer to use Log as then all the options are available for output, including HLG. I shoot Log on my GH5S and GH6 and do all sharpening in Resolve as needed so source is basic. Use project colour management, wide gamut so can always select out format as needed. Normal timeline is 1920x1080rec709 for monitoring.

First word of caution, if you are on Windows or linux you will need to paid version of resolve to open those files. Mac free will work fine.


I support minimum sharpening and NR in camera. This is always a one way street, and best done in post.

Saturation if not 'excessive' is less of an concern, you can back it off in post. Especially since there is no way that camera is going to exceed the capacity of REC2020 color space.

If you like the way -3 looks, go for it. If setting it to 0 makes less work in resolve, do that.

Darren Mostyn is my go to guide on resolve color management youtu.be/c4AVwVdKTHc?si=im_wS-l5K6FJoj-a

If your intention is to Monitor and Deliver a REC2100 HDR file to YT, this is not a trivial process. Up until recently a separate IO device was needed for Resolve to display HDR. This changed, but I haven't seen the process discussed (I don't own an HDR monitor myself). So some homework here will be needed.

Getting YT to recognize your exported files as HDR is also sometimes buggy. Exporting a Prores 422 file and checking its metadata with MediaTool is my recommendation.

YT details the metadata requirements here https://support.google.com/youtube/answer/7126552?hl=en


Do expect these files to look horrible for a viewer on an SDR screen. You can provide YT a bespoke SDR conversion LUT, but otherwise you are just rolling the dice with whatever tone mapping they choose.

Capturing in HDR or LOG and delivering to REC709 is certainly a much more common workflow and will remove a bunch of the pitfalls I mentioned. And what I would recommend for a beginner.

Thank you for the answer and help. NR and sharpening I prefer to set -5.
Yes, I must experiment with Saturation settings in my Lumix G9 to see what they look like.
I have watched for a while the suggested video but I wonder how to set the settings for the HLG profile, and I do not have HDR monitor. Gamma 2.4?
Alek

HLG is fine if you want to connect your camera to TV and watch but I prefer to use Log as then all the options are available for output, including HLG. I shoot Log on my GH5S and GH6 and do all sharpening in Resolve as needed so source is basic. Use project colour management, wide gamut so can always select out format as needed. Normal timeline is 1920x1080rec709 for monitoring.

Now I do not have LOG profile and if I remember well, HLG has lower noise or at least is less prone to noise formation if the clip is underexposed.

HLG is fine if you want to connect your camera to TV and watch but I prefer to use Log as then all the options are available for output, including HLG. I shoot Log on my GH5S and GH6 and do all sharpening in Resolve as needed so source is basic. Use project colour management, wide gamut so can always select out format as needed. Normal timeline is 1920x1080rec709 for monitoring.

Now I do not have LOG profile and if I remember well, HLG has lower noise or at least is less prone to noise formation if the clip is underexposed.

Yes forgot the G9 requires an upgrade for VlogL just like the GH5. I just find Vlog much better to grade so only tried HLG once on the GH5 I had before getting the GH6. I know there were some reports of HLG being better in some ways than Vlog but nothing that I have seen. I think the difference is more noise reduction by default for HLG than Vlog in camera allowing the option to select the amount of noise reduction in post for Vlog.

I do not have HDR monitor. Gamma 2.4?
Alek

if you don't have an HDR monitor, I would not try to export HDR. You would be flying entirely blind.

Export REC709.

HLG is fine if you want to connect your camera to TV and watch but I prefer to use Log as then all the options are available for output, including HLG. I shoot Log on my GH5S and GH6 and do all sharpening in Resolve as needed so source is basic. Use project colour management, wide gamut so can always select out format as needed. Normal timeline is 1920x1080rec709 for monitoring.

Now I do not have LOG profile and if I remember well, HLG has lower noise or at least is less prone to noise formation if the clip is underexposed.

Yes, I forgot the G9 requires an upgrade for Vlogl, just like the GH5. I just find Vlog much better to grade so I only tried HLG once on the GH5 I had before getting the GH6. I know there were some reports of HLG being better in some ways than Vlog, but nothing that I have seen. I think the difference is more noise reduction by default for HLG than Vlog in camera, allowing the option to select the amount of noise reduction in post for Vlog.

I see. The problem is that both people prefer HLG over VLOG l and vice versa.
For the time being, I use the following settings in Media:
Imput Color Space - Rec2020
Imput Gamma - Rec2100 HLG (Scene)

Color Management:
Color Space&Transforms
Color Science - DaVinci YRGB Color Managed
Color Processing Mode - HDR Davinci Wide Gamut Intermediate
Output Color Space - Rec709 and Gamma 2.4
PS I have read that the HDR Davinci Wide Gamut Intermediate is really a wide Gamut. It is like RAW in photography.
In Color Tab - I switch off CST settings.
Is it fine, any suggestions?

I do not have HDR monitor. Gamma 2.4?
Alek

if you don't have an HDR monitor, I would not try to export HDR. You would be flying entirely blind.
True.
Export REC709.

REC709, yes, and I use Gamma 2.4.