Say Your Goodbyes to Cinelike D and V-Log Lite!

Since playing around a bit with Paul Leeming’s LUT for HLG to rec. 709 and seeing the excellent skin tones and dynamic range it’s capable of, I’m fairly certain Cinelike D is going to be a thing of the past fairly soon, like upturned Polo collars and bell bottoms (except in South Korea, where unfortunately, the former practice still thrives!). Apologies to those with their newly hacked Lumix GX80s and ‘85s, but it’s time to get with the program – c’mon, you didn’t really think Cinelike was going to let you play with the big boys, did you? I no longer even want to look at Cinelike D again! With HLG and the Leeming LUT, the image fairly pops off my monitor, there’s gobs of information around specular highlights, detail that was lost shooting Cinelike D; and I’ve never gotten such pleasing skin tones before, not with Cinelike and certainly not with that abomination known as Natural, which had to be shot with everything at -5, then processed with that garbage disposal FilmConvert to get something resembling well… something! Then there’s those extra two stops of dynamic range. I realize some may scoff at me and say dynamic range is not all that important, especially those of you who still insist on viewing everything in 540p… HLG was conceived of as a distribution format; editing it is and will be a bitch for a long time to come; I would go so far as to say that even attempting to grade it would be an act of brazen foolishness; and unless your client or audience already owns an HDR-ready monitor or television set, delivering in HDR makes little or no sense. Take your pick. I go with no sense. To be frank, I can’t tell the difference between 1080p and 4K. And you’d have to stick needles under my fingernails to get me to lie and say I can tell the difference between SDR and HDR unless they were shown side-by-side in split screen…. Whereas any dolt can appreciate the stunning color and tonality of HLG rec. 709 right now. 

Written only ever so slightly tongue-in-cheek.

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