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My Vimeo M2P HLG showcase-all shot in HDR format
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christangey
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I've been shooting all over Australia for about a year now in the  HLG format. For those who haven't tried it, it's the M2P's 10 bit HDR  (High Dynamic Range) format and I think it is way better than D-Log. See what you think, all videos in this showcase are HLG, color graded in FCPX.

https://vimeo.com/showcase/6761301


2020-2-3
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christangey
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HLG showcase
2020-2-3
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DJI Stephen
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Hello and good day christangey. Thank you for sharing these information and for sharing this link with us. This thread will be a very big help to all our DJI co pilot. Thank you for your valued support and fly safe always.
2020-2-3
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Matthew Dobrski
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Truly spectacular, demonstrating underrated talents of Mavic 2 Pro platform very well. Bravo!
2020-2-3
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djiuser_Fwe3qPI8IwON
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Congratulations also from me.
The potential of HLG is well understood.
Can we get information about the workflow with fcpx?
2020-2-3
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Fre Mo
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Wonderful image quality.
I hope the bushfires didn’t threaten you.
2020-2-3
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christangey
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DJI Stephen Posted at 2-3 12:06
Hello and good day christangey. Thank you for sharing these information and for sharing this link with us. This thread will be a very big help to all our DJI co pilot. Thank you for your valued support and fly safe always.
Thankyou DJI Stephen, hopefully I can add more detail in this thread as we go along
2020-2-3
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Jake Deer
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Very nice job! I especially liked the Australia one.
2020-2-3
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christangey
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Matthew Dobrski Posted at 2-3 12:36
Truly spectacular, demonstrating underrated talents of Mavic 2 Pro platform very well. Bravo!

Thanks Matt, I agree it's under rated and more people need to try it out, it's also good for future-proofing as we head into an HDR world anyway!
2020-2-3
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christangey
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Matthew Dobrski Posted at 2-3 12:36
Truly spectacular, demonstrating underrated talents of Mavic 2 Pro platform very well. Bravo!

Thanks Matt, I agree it's under rated and more people need to try it out, it's also good for future-proofing as we head into an HDR world anyway!
2020-2-3
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christangey
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Fre Mo Posted at 2-3 12:46
Wonderful image quality.
I hope the bushfires didn’t threaten you.

No FreMo, Australia is a VERY big place, so despite the media-hype the fires were 1500km from us!
2020-2-3
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christangey
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Jake Deer Posted at 2-3 18:47
Very nice job! I especially liked the Australia one.

Thank you  Jake
2020-2-3
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christangey1
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djiuser_Fwe3qPI8IwON Posted at 2-3 12:45
Congratulations also from me.
The potential of HLG is well understood.
Can we get information about the workflow with fcpx?

That might take a while to write, will get back to you!
2020-2-3
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Gelert
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Absolutely stunning - fantastic job
2020-2-4
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christangey
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djiuser_Fwe3qPI8IwON Posted at 2-3 12:45
Congratulations also from me.
The potential of HLG is well understood.
Can we get information about the workflow with fcpx?

OK DJI User you asked about workflow in FCPX.

You may regret that as this will be LONNNNG! :-) Firstly I can't emphasise enough how important it is to get your exposure right with the drone camera FIRST when working with HLG. If you have a choice between over-exposing and under-exposing always go slightly under, because you will get ZERO detail back in HLG if you go over.  

In terms of FCPX workflow, the first thing I've learned is forget about Rec2020 until you need it one day! Also If you are not a Mac person some of the below may seem like gobbledegook.

Basically, as I also store 4K stock footage to license, my first thing is to eliminate wild footage I don't need. I am getting very disciplined at storing only what I need to. For this I open all HLG files straight off the micros SD then open each one up in Mac Preview. Using the "trim" feature I cut them down then save again under a different name. Of course some clips may have more than one usable move or shot you want to extract, and trim can only be done from either end of the clip. In that case I just reopen the master file off the SD, trim and then save those under different file names too.

As I said I have given up trying to edit in FCPX projects set as Rec2020 in both library and project, as I can get them looking reasonably good on the timeline but then when I export a clip they look nothing like what you've worked on, with huge blowouts in chroma and luma. Life's too short to worry about that and in the end I don't need to work in that color space for now. The main thing is that I still have the master files in HLG so if BBC, NHK or somebody wants to license a shot I just handball it to them and their specialists know exactly what to do. In the meantime I'm happy grading in REC709 as in the above video, as HLG is a bit of a hybrid format that works in both. Also if I ever need to truly edit for HDR in future, I still have the masters anyway.

When shooting always use NDs and zebra (pity the M2P doesn't have adjustable settings for zebra) If you get stripes, it's gone, bye bye, no detail, unrecoverable. That can be a little annoying when you are flying into a sunset and want to bring back the ball-shape of the sun or something, ...not going to happen.

While it's important not to overexpose it is also important not to shoot too dark either as it drags the blacks up and you can get both a mauve/purple thing going on in shadows and/or noise, the latter is usually cleaned up really well in plugins like neat video.

I can only talk with my experience in FCPX in terms of grading. When you first place it on the Rec 709 timeline your heart will skip a beat as chances are the shot will look really overexposed. Don't panic, it's just some weird Final Cut thing. First thing you do is pull down highlights to make it look normal, I have found a really good guide for those of us who have blue skies every day (!)  is that if it is overexposed there will be a cyan-colored banding in the sky, pull highlights down until it looks normal blue. then I would try tweaking your blacks down, and only then play with mid-tones. As you can see from my video you shouldn't have to do a lot with saturation. Then to keep it in a 10 bit color space export it as Prores 422 or 422 HQ.

To get it online as an mp4 I use a great little encoder called "Handbrake" which is way quicker than the FCPX native one. I export at 40,000kbps in H265 which is now accepted by Youtube and Vimeo, this is critical to keeping your 10 bit color space right through to the viewer. Basically the difference between delivering in 8 bit and 10 bit is one is a million colors the other is a billion, go with the billion!

I hope that helps a bit.
2020-2-4
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christangey
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Gelert Posted at 2-4 00:25
Absolutely stunning - fantastic job

Thanks Gelert
2020-2-4
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oberschneider.com
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christangey Posted at 2-4 00:40
OK DJI User you asked about workflow in FCPX.

You may regret that as this will be LONNNNG! :-) Firstly I can't emphasise enough how important it is to get your exposure right with the drone camera FIRST when working with HLG. If you have a choice between over-exposing and under-exposing always go slightly under, because you will get ZERO detail back in HLG if you go over.  

thanks for explaining your workflow!
2020-2-4
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christangey
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oberschneider.com Posted at 2-4 05:02
thanks for explaining your workflow!

My pleasure Ober
2020-2-4
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DJI Stephen
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christangey Posted at 2-3 16:39
Thankyou DJI Stephen, hopefully I can add more detail in this thread as we go along

You are very much welcome christangey. Again thank you for your valued support and keep on flying.
2020-2-4
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christangey
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DJI Stephen Posted at 2-4 09:20
You are very much welcome christangey. Again thank you for your valued support and keep on flying.

2020-2-4
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Montfrooij
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Very nice set of video's!
2020-2-5
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christangey
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Montfrooij Posted at 2-5 06:19
Very nice set of video's!

thanks as always Captain!
2020-2-5
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christangey Posted at 2-5 06:27
thanks as always Captain!

You're welcome (as always)
2020-2-5
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Pegasos
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I have come to the very same conclusion: HLG is better than D-LOG-M on Mavic 2 Pro.
2023-6-17
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Pegasos
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christangey Posted at 2020-2-4 00:40
OK DJI User you asked about workflow in FCPX.

You may regret that as this will be LONNNNG! :-) Firstly I can't emphasise enough how important it is to get your exposure right with the drone camera FIRST when working with HLG. If you have a choice between over-exposing and under-exposing always go slightly under, because you will get ZERO detail back in HLG if you go over.  

One question/remark:
You say you don't use the Rec.2020 HLG gamut in FCP to edit your Mavic 2 Pro HLG footage, but only the Rec.709 one. I suppose you are fully aware of the fact that you are then throwing away 1 billion minus 16 million colours, or to be more precise: that those 984 million colours are being shifted into the much smaller colour space/gamut of Rec.709? It was my understanding that there are already monitors and OLED TVs on the market  with much larger colour gamuts than Rec. 709.
This procedure (editing HLG in Rec.709 instead of Rec.2020 HLG) makes your final remark about exporting the final video in 10-bit ("1 billion colours instead of 16 million", 8-bit = 16 million, not 1) sound very strange to me, as you shift 1 billion colours (Rec.2020 HLG as recorded) into just 16 million, and in the final step you try to shift them back to 1 billion (which obviously is impossible...). If you chose to limit the video to Rec.709 editing and output, there is no sense in rendering it in 10bit.
2023-6-17
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christangey
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Pegasos Posted at 6-17 06:33
One question/remark:
You say you don't use the Rec.2020 HLG gamut in FCP to edit your Mavic 2 Pro HLG footage, but only the Rec.709 one. I suppose you are fully aware of the fact that you are then throwing away 1 billion minus 16 million colours, or to be more precise: that those 984 million colours are being shifted into the much smaller colour space/gamut of Rec.709? It was my understanding that there are already monitors and OLED TVs on the market  with much larger colour gamuts than Rec. 709.
This procedure (editing HLG in Rec.709 instead of Rec.2020 HLG) makes your final remark about exporting the final video in 10-bit ("1 billion colours instead of 16 million", 8-bit = 16 million, not 1) sound very strange to me, as you shift 1 billion colours (Rec.2020 HLG as recorded) into just 16 million, and in the final step you try to shift them back to 1 billion (which obviously is impossible...). If you chose to limit the video to Rec.709 editing and output, there is no sense in rendering it in 10bit.

You realize this post is over 3 years old, when HDR monitors were the price of a small car? and OLED HDR TVs are hardly common in people's houses now in 2023. But regardless things haven't changed for my personal workflow. It is about cost-effectiveness and efficiency for my business, that's all. My high-end stock footage clients (like BBC , Netflix, Warners, Universal etc.) may well edit in HDR, and I may too one day when it all becomes cost-effective for me. At the moment though, as long as the master files are in HDR (HLG) they can do what they like with them when I supply them, and indeed they do.
2023-6-17
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christangey Posted at 6-17 16:08
You realize this post is over 3 years old, when HDR monitors were the price of a small car? and OLED HDR TVs are hardly common in people's houses now in 2023. But regardless things haven't changed for my personal workflow. It is about cost-effectiveness and efficiency for my business, that's all. My high-end stock footage clients (like BBC , Netflix, Warners, Universal etc.) may well edit in HDR, and I may too one day when it all becomes cost-effective for me. At the moment though, as long as the master files are in HDR (HLG) they can do what they like with them when I supply them, and indeed they do.

Thanks for answering me. I surely knew this post was "old", but to me it still matters as I have been one of the very few out there or out here who recommends to shoot in HLG instead of in D-LOG-M on the Mavic 2 Pro. And even more important: My remark was more about why you are rendering the final footage in 10bit "trying" to get back 1 billion colours after you have edited it in Rec.709 and thus have thrown out 984 million of colours out of the original 1 billion that were recorded in the Mavic 2 Pro's HLG footage. I'm not criticising, I'm trying to understand why you do that, in case I've made a mistake in trying to apply logic onto your workflow that goes from 10bit HLG over editing in Rec.709 into final rendering in 10bit, the final step of which makes no sense to me as it's impossible to get back 1 billion colours after throwing 984 million colours out of the equation by using a Rec.709 editing environment/colour gamut, which is limited to 16 million colours. Can you enlighten me on that or am I correct in my logical deduction?
All of this doesn't make your videos any les amazing. You're very lucky to be able to shoot in Australia. Here in Europe it is becoming more and more impossible to fly over anything that is "owned" or "managed" or "claimed" by private people, organisations, institutions, and the political apparatus. And then I'm not even talking about the incredibly complicated legal framework with its absurd rules, silly exams, and harder and harder to get licenses...
2023-6-18
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Pegasos
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Pegasos Posted at 6-18 01:44
Thanks for answering me. I surely knew this post was "old", but to me it still matters as I have been one of the very few out there or out here who recommends to shoot in HLG instead of in D-LOG-M on the Mavic 2 Pro. And even more important: My remark was more about why you are rendering the final footage in 10bit "trying" to get back 1 billion colours after you have edited it in Rec.709 and thus have thrown out 984 million of colours out of the original 1 billion that were recorded in the Mavic 2 Pro's HLG footage. I'm not criticising, I'm trying to understand why you do that, in case I've made a mistake in trying to apply logic onto your workflow that goes from 10bit HLG over editing in Rec.709 into final rendering in 10bit, the final step of which makes no sense to me as it's impossible to get back 1 billion colours after throwing 984 million colours out of the equation by using a Rec.709 editing environment/colour gamut, which is limited to 16 million colours. Can you enlighten me on that or am I correct in my logical deduction?
All of this doesn't make your videos any les amazing. You're very lucky to be able to shoot in Australia. Here in Europe it is becoming more and more impossible to fly over anything that is "owned" or "managed" or "claimed" by private people, organisations, institutions, and the political apparatus. And then I'm not even talking about the incredibly complicated legal framework with its absurd rules, silly exams, and harder and harder to get licenses...

If my question remains unanswered, then I take it there is no sense in rendering in 10bit for final output after editing in Rec.709.
2023-6-20
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