From what I recall, the studio scene is a high-CRI LED bulb, obviously not sunlight, so that could be part of the problem.
Optimal is, of course, actual colorchecker shots taken in noon sun and via a real tungsten bulb (the latter is a lot more difficult than it used to be but still possible in the US)
As a side note to @modernhuman - an alternative approach I’m looking into is writing some Python to convert raw images into DNG files that Resolve will treat appropriately (as in, enable V-Log output).
Might be a while, I spent some time sidetracked on writing an S-Log to linear DCTL transform because the built-in S-Log transform seems to have some black level issues, potentially due to Sony’s cameras being so inconsistent about luma ranges for JPEG vs video and potentially differences between the 8-bit ILCEs and the much higher end video-focused ILME family. Side benefit of writing the transform yourself is implementing a built-in exposure compensation slider.
Yeah, although I will disagree with the “we have no clue what middle grey is” - middle grey will be at 0.18 for a camera that uses an unmodified sRGB tone curve.
Middle grey winding up elsewhere in sensor-normalized space is what happens when you use a different tone curve, and explains why ISO 640 for V-Log has the sensor operating in the same configuration as ISO 100 for “normal” photos.
The challenge is due to “middle grey” being defined in terms of a processed JPEG, and hence dependent on the JPEG (or in this case, video) tone curve. (The standard that defines ISO ratings for digital cameras defines it based on what becomes middle grey in a JPEG, which is why the JPEG tone curve settings can shift the ISO setting even when the sensor didn’t change configuration at all.)
I just got back from shooting two different jobs in different states, around 5000 total photos. I shot everything with the s1h in vlog to .rw2 raw files. I used a custom Viewing LUT while shooting. Then, in post, I imported all the raws into capture one 20 to make my selects. I moved all the selects to a different folder and renamed them. Then, I opened all the selects into SILKYPIX and applied my development preset and rendered them out as 16-bit vlog tiffs. I imported the tiffs into DaVinci resolve 17 (paid version) and put them into a 6k x 4k timeline. I applied my standard grade, based on my viewing LUT. The photos at this point are 90% of the way there and how they looked when I shot them. I adjusted gamma / density and white balance (using the white balance OFX plugin). Also, any localized adjustment nodes like vignettes, windows, etc. where applicable. This is all part of my standardized node tree. After all this I render them out at 8 bit tiffs. Where they can then be further processed into jpgs or whatever by being reimported into capture one or applicable software.
This process, though a lot more lengthy than anything I’ve done before, yields the most flexibility and ultimately authorship of the image. It is worth it to me. But it would be great if someone would make a DaVinci resolve, node based editor for photographers, that worked with the native raws and also had a library and metadata / tagging tools. The main problems with this method is size (raws and tiffs) and flexibility in tagging / naming and rendering. Having photos on a timeline is just not great for that. So anybody that can make that software will create what I think is a next gen tool for photographers. It’s certainly not for beginners, but the power and speed is unmatched. Also, the Panasonic S series is the only camera that can do this right now, with out custom tools. So if you want to try it your options are limited. But it’s pretty amazing and makes the other options feel primitive.
For sure, I’m just saying there’s a void in the photography post space that could be filled. I’m not expecting someone to make that for me. But, there’s a huge opportunity to have a unique product that stands out and maybe even become a standard. Just surprised it doesn’t exist…
Could you just try a short cut and process a say a color chart through your process with your viewing lut and then just pull that raw strait in to Davinci and then use the colormatch feature in Davinci between the two and then just use that as a correction going forward… maybe that would not be close enough
I came across this…something about hsp files…I wonder if you could use those with davinci??
HDR in stills
At present, the JPEGs produced by cameras are designed with the expectation they’ll be viewed on standard definition displays. This limits how much of the dynamic range of the real world can be shown before everything begins to looking flat and washed-out, or tips over into the hyper-real look of aggressively tone-mapped HDR images.
So far we’ve seen two camera manufacturers go further and try to take any advantage of the arrival of more capable displays. Panasonic’s S-series cameras have a mode that can output images based around the HLG standard. These files can be viewed on the majority of HDR TVs if you connect the camera using HDMI. Images shot using HLG Photo mode are output as .hsp files (defined in the HLG standard), whose wider user and acceptance is currently unclear. The cameras can also output .hsp files using in-camera Raw conversion.
