agrumpyoldsod
Well-known member
Hybrid Log-Gamma (HLG) technology is a High Dynamic Range (HDR) standard that allow for photographs with a wider range of tones, minimising loss of detail in highlights and shadows. Compared with Standard Dynamic Range (SDR), it increases the amount of detail that can be expressed in the upper half of the tone range for greater rendering potential. It matches SDR in the level of detail that can be expressed in the lower portion of the tone range to ensure compatibility with non-HDR displays. [Nikon Technical Guide HLG]
Working on and Processing Lossless RAW HLG images.
Having done some simple tests LRC/ACR has a way to go AND there is no evidence it recognises BT.2020 as such. Certainly the outputs from NX Studio (NXS) of images shot in HLG are more appealing than SDR for those situations when a single shot HDR would make a difference.
NXS identifies images that were shot in HLG Tone Mode and brings up HDR profiles to use - behind the scenes it will also recognise the Colour Space being BT.2020.
Adobe (LCR/PS), Capture One and DxO all need to step up their games with the equivalent of NXS’s HDR Wide gamut options. Currently both Adobe and Capture One will process Lossless RAW images from the Nikon Z8, but those shot in HLG appear muted compared to when seen in NXS and it is unclear how/if they utilise BT.2020 or simply treat the image as though it was in Adobe RGB or similar. NXT provides an indicator, others do not.
Why worry and what to do about it -- the following illustration shows examples of the Gamut for a number of the common colour spaces AND proves that we should all set our software to work in ProPhoto RGB, which is the largest space and encompases all others including BT.2020 (or REC 2020) [ITU-R Recommendation BT. 2020, more commonly known by the abbreviations Rec. 2020 or BT.]
Very few monitors [none that are affordable by most of us] can display the full colour gamut of Adobe RGB let alone Rec 2020. The most important thing is to be as consistent as possible through the whole process and not limit our work until we have chosen how the output is to be used. [I strongly recommend selecting ProPhoto RGB as the working space for all software that allow it. THEN downsampling the output to fit how the output will be used/viewed. Remembering that the bulk of the web is still in sRGB].
The chart also shows how limiting working in sRGB (Rec 709) is when compared to the other larger colour spaces.
While not Display HDR 1000 certified, my pair of Pro Display XDR can work with content encoded in BT. 2020. These display will accurately reproduce colors within its native P3 gamut, but obviously since BT.2020 is larger than P3 it will adjust colours to fit P3. Both my displays are capable of 1600 nits and both displays are periodically calibrated to ensure they are accurate. In the HLG Technical Guide Nikon recommend using HDR Video (P3-ST-2028) - I prefer P3 (1600 nits) - but will continue to test to see which works best for me.
I accept and understand the warning the Nikon included in their HLG guide. BUT to be honest -- working with wide gamut data and viewing it are two different things. For those of us who have worked on HDR photos for decades we know this already -- but thanks for the reminder Nikon. This has been and will be the case until affordable monitors capable of accurately and fully displaying ProPhoto RGB colour space emerge. Yet many of us go ahead setting our tools to use this as the work space recognising the final output will be "less" due to the limitations of the media used to display or view them.
The First "issue" how to most efficiently process Lossless RAW images shot with the Tone Mode set to HLG and the current limitations of the tools I am very familiar with to maximise the benefit of shooting in HLG -- vs-- having to use NXS.
AND THEN it is about understanding the choices I may wish to use -- simply put will shooting HLG save me time or provide better results than I can achieve shooting SDR with brackets or other techniques.
I like MANY folk who shoot HDR images -- in 16-bit, bracketed exposures or now in HLG use TONAL Compression tools (like Photomatix Pro 7) and techniques (including basic 32-bit HDR in PS) to make choices how wider gamut work make uses of the data we collect and then deliver output in formats and colour space appropriate to how these outputs will be used.
Currently I will follow the same workflow I use when shooting with my Hasselblad -- which is to use the Manufacturers Software (Phocus or NXS) to complete basic RAW image processing - then export the "converted file" as a 16-BIT TIFF file in Prophoto RGB colour space - which I then work on in LRC/PS and other tools -- this simply means my process is more disjointed and destructive than I prefer and the intermediary step generates large TIF files.
NX Studio's working space is ProPhoto RGB and I have chosen to export the TIF in ProPhoto RGB and have confirmed this is what happens.
All my other tools also utilize Prophoto RGB as their working space as a result there should be no loss of colour data while switching application.
It is only at the final step when I generate output do I choose the appropriate colour space and soft proof the deliverable.
Based on my initial trials -- the workflow I outlined above is the route I would use were I to choose to shoot Lossless RAW HLG. This may change when Adobe,Capture One and DxO catch up.
I can confirm that NX Studio 1.4.0 includes an Adjustment Panel for Portrait ENhancements - which includes Skin Softentening and Portrait Impression Balance and the ability to replicate what is applied to JPG/HEIF in camera to Lossless RAW files -- if that is what you choose to do. [Yes Skin Softening only works on Human subjects]
The following is a simple example -- a screen shot of 2 TIF images compared in LRC -- Left being SDR and Right being HLG both shot flat and simply processed in NX Studio with almost no adjustments shows the potential benefit of shooting -- obviously as a screenshot it is is sRGB color space so significantly less dynamic than what I see on my screen and can send onwards should I choose to.
Working on and Processing Lossless RAW HLG images.
Having done some simple tests LRC/ACR has a way to go AND there is no evidence it recognises BT.2020 as such. Certainly the outputs from NX Studio (NXS) of images shot in HLG are more appealing than SDR for those situations when a single shot HDR would make a difference.
NXS identifies images that were shot in HLG Tone Mode and brings up HDR profiles to use - behind the scenes it will also recognise the Colour Space being BT.2020.
Adobe (LCR/PS), Capture One and DxO all need to step up their games with the equivalent of NXS’s HDR Wide gamut options. Currently both Adobe and Capture One will process Lossless RAW images from the Nikon Z8, but those shot in HLG appear muted compared to when seen in NXS and it is unclear how/if they utilise BT.2020 or simply treat the image as though it was in Adobe RGB or similar. NXT provides an indicator, others do not.
Why worry and what to do about it -- the following illustration shows examples of the Gamut for a number of the common colour spaces AND proves that we should all set our software to work in ProPhoto RGB, which is the largest space and encompases all others including BT.2020 (or REC 2020) [ITU-R Recommendation BT. 2020, more commonly known by the abbreviations Rec. 2020 or BT.]
Very few monitors [none that are affordable by most of us] can display the full colour gamut of Adobe RGB let alone Rec 2020. The most important thing is to be as consistent as possible through the whole process and not limit our work until we have chosen how the output is to be used. [I strongly recommend selecting ProPhoto RGB as the working space for all software that allow it. THEN downsampling the output to fit how the output will be used/viewed. Remembering that the bulk of the web is still in sRGB].
The chart also shows how limiting working in sRGB (Rec 709) is when compared to the other larger colour spaces.
While not Display HDR 1000 certified, my pair of Pro Display XDR can work with content encoded in BT. 2020. These display will accurately reproduce colors within its native P3 gamut, but obviously since BT.2020 is larger than P3 it will adjust colours to fit P3. Both my displays are capable of 1600 nits and both displays are periodically calibrated to ensure they are accurate. In the HLG Technical Guide Nikon recommend using HDR Video (P3-ST-2028) - I prefer P3 (1600 nits) - but will continue to test to see which works best for me.
I accept and understand the warning the Nikon included in their HLG guide. BUT to be honest -- working with wide gamut data and viewing it are two different things. For those of us who have worked on HDR photos for decades we know this already -- but thanks for the reminder Nikon. This has been and will be the case until affordable monitors capable of accurately and fully displaying ProPhoto RGB colour space emerge. Yet many of us go ahead setting our tools to use this as the work space recognising the final output will be "less" due to the limitations of the media used to display or view them.
The First "issue" how to most efficiently process Lossless RAW images shot with the Tone Mode set to HLG and the current limitations of the tools I am very familiar with to maximise the benefit of shooting in HLG -- vs-- having to use NXS.
AND THEN it is about understanding the choices I may wish to use -- simply put will shooting HLG save me time or provide better results than I can achieve shooting SDR with brackets or other techniques.
I like MANY folk who shoot HDR images -- in 16-bit, bracketed exposures or now in HLG use TONAL Compression tools (like Photomatix Pro 7) and techniques (including basic 32-bit HDR in PS) to make choices how wider gamut work make uses of the data we collect and then deliver output in formats and colour space appropriate to how these outputs will be used.
Currently I will follow the same workflow I use when shooting with my Hasselblad -- which is to use the Manufacturers Software (Phocus or NXS) to complete basic RAW image processing - then export the "converted file" as a 16-BIT TIFF file in Prophoto RGB colour space - which I then work on in LRC/PS and other tools -- this simply means my process is more disjointed and destructive than I prefer and the intermediary step generates large TIF files.
NX Studio's working space is ProPhoto RGB and I have chosen to export the TIF in ProPhoto RGB and have confirmed this is what happens.
All my other tools also utilize Prophoto RGB as their working space as a result there should be no loss of colour data while switching application.
It is only at the final step when I generate output do I choose the appropriate colour space and soft proof the deliverable.
Based on my initial trials -- the workflow I outlined above is the route I would use were I to choose to shoot Lossless RAW HLG. This may change when Adobe,Capture One and DxO catch up.
I can confirm that NX Studio 1.4.0 includes an Adjustment Panel for Portrait ENhancements - which includes Skin Softentening and Portrait Impression Balance and the ability to replicate what is applied to JPG/HEIF in camera to Lossless RAW files -- if that is what you choose to do. [Yes Skin Softening only works on Human subjects]
The following is a simple example -- a screen shot of 2 TIF images compared in LRC -- Left being SDR and Right being HLG both shot flat and simply processed in NX Studio with almost no adjustments shows the potential benefit of shooting -- obviously as a screenshot it is is sRGB color space so significantly less dynamic than what I see on my screen and can send onwards should I choose to.
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