HDR Workflow with Canon R5 Questions

[lvthunder]

I have a Canon R5 and an Atomos Ninja V+ recorder.  I want to shoot and edit HDR videos that look simular to my iPhone 14 Pro HDR videos.  The problem is I must be doing something wrong.  I shot the footage in C-Log 3 in the BT.2020 color space in the camera.  I read that there is an issue sending Cimena Gamut color space over HDMI to the Atomos.  The recommendation was to use BT.2020  So that's what I shot.  I then setup a timeline in Premeire and using both REC2100 options with the BT2020_CanonLog3-to-BT2020_709WideDR_33_FF_Ver.2.0 LUT from Canon produces a worse and washed out image then using REC709 with BT2020_CanonLog3-to-BT709_WideDR_33_FF_Ver.2.0  In the table that came with the LUTS it says the output Gamut is REC2020 and the Gamma is Wide DR.  The Cinema Gamut ones have an HLG and a PQ.  Do I just need to record RAW to the Atomos or is there something else I need to do to get HDR out of these files?

I have an  ASUS ProArt Display PA27UCX-K 27" 4K HDR display which is Display HDR 1000 certified so it shouldn't be the monitor.

[R Neil Haugen · Accepted solution]

HDR is a ton more complicated and with terrible "gotchas!" still at this point compared to SDR/Rec.709. I work with and teach pro colorists, most of whom have still never received a paying job asking for an HDR deliverable. It's that new still.

Yes, there could easliy be issues with the monitor unless it's been carefullly calibrated with a puck/software setup, and then a profile pass has been made to verify the calibration is within specs.

And there are issues with monitor and OS settings that try to "help enhance the viewing experience" that really muck up the image for seeing what the file signal is WITHOUT "making it a more dynamic experience". Colorists spend a TON of time and money getting this done right. With $20,000 and up HDR reference monitors!

My understanding is the " .... WideDR ... " Canon LUTs are actually meant primarily for Davinci Wide Gamut  working space ... in Resolve. I could be wrong, but I don't that that specific LUT is a good fit for Premiere.

And yes if you record RAW to the Atomos, you should be able to use that for HDR/HLG work in Premiere.

For HDR work in HLG, if you have a LUT that works, apply it in the clip color management. Which is in the Project panel, select one or more clips, right-click/Modify/Interpret Footage, and at the bottom is the new CM user controls. Set the Input LUT to the LUT you want to use.

Then set the Override-to option to Rec.2100/HLG.

Now in the Seuquence settings, make sure the sequence CM is of course Rec.2100/HLG, and use only export presets with HLG in the preset name.

I've got a few FAQ and help files here on that process ... still useful til maybe next week, when I expect they'll drop 2023 on the first day of MAX.

Neil

FAQ:PremierePro 2022 Color Management for Log/RAW Media

A User Guide: Color Correction in HDR in Premiere 2022

How to Set Monitors for HDR work in Premiere Pro 2022?

HDR workflow in Premiere Pro User Guide

[lvthunder]

Thank you so much for the information.  It helped me a lot.  In reading the release notes for today's update it doesn't sound like anything in the HDR workflow has changed.  I'll watch the keynote and some of the other stuff as well.  Thanks again Neil.

[R Neil Haugen]

The main thing for 'color' stuff is that we now have a MUCH bigger list of codecs that can be modified in the Interpret Footage dialog with a transform from either HDR or log-encoded spaces to Rec.709 ... including one Panny, and quite a few Canon options. To go with several more Sony options.

This is LONG overdue, and good to have.

Plus the Scopes are now GPU accelerated ... finally! ... why they weren't to begin with I never understood, but as always when something finally does haappen ... thank the engineers, right?

Neil