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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....

No need to apologise.. unless you represent the sun, that is It's a strange thing, but the sun here in WA is stronger than on the east coast, and the Aussie sun is stronger than elsewhere, like Europe or Asia. My skin is fair, but I could go out in the sun for an hour or so when I was in Italy and not get burnt, but here it's like 10 minutes. I've gotten burnt wearing a wide-brimmed hat sitting in a chair on the side of a grass sports field, which is completely ridiculous. Anyway, isn't it your turn to post a selfie? I have a vague recollection you might have posted one before at some point...? Great pic. Nothing broken in your lighting or composition skills!

This is from commuting to work at sunrise and home again in late afternoon, standing in the shade when waiting for buses, and not going anywhere outside in-between. I'm not sure where I'm meant to be wearing that hat. My indoor lighting isn't that powerful!!

Easy. Just pick the one that looks most like you playing the lead in an Indy film called Modern Ninja where you are John Normal, a man who achieves invisibility through being unremarkable and where special skills are centred around his ability to talk about local sporting events, a passionate love but mediocre understanding of politics and global affairs, and traditional and slightly close-minded values.

Mark loves his Takumars but just got some CZ lenses, so I'm looking forward to seeing how they compare. I think the Takumars might not be too far away from the CZs TBH.

Post the one that is the most cinematic....

Way ahead of you.. this is me hanging out with my colour checker in specially arranged "mood lighting" 😂😂😂 PS, I'm not quite as sunburnt as I look, but I am pale as hell and live in Australia, sooooo......

oh, and to clean their lens before recording.