When you render, you choose HEVC HDR10 4K, and then in the custom menu make sure you are getting 10 bit and color space REC2020. This step is crucial, so ACES can make the proper transform from the input characteristics to the render characteristics.ģ. if you chose to shoot HLG (bad idea), then there is NO option. In the media window, you select all of the clips and then select the gear icon and choose from the menu the exact picture profile you used. In project settings, you choose 32-bit (all levels), ACES, version 1.0 and you set viewing mode to REC202 ST2084 (although how you view the video has no direct effect on what it looks like when rendered).Ģ. There are three steps to make an HDR video in Vegas Pro 16 when you shoot with an HDR-capable Picture Profile (e.g., SLog2/Vlog/ not HLG):ġ.
Either way, it seems in my case I have little to gain with Vegas since the only reason I’d consider using it was if the render times were significantly less than FCP. Compared to the original HLG clip, the difference was day & night.Īs Mark implied, it could simply be that I’m attempting something that isn’t feasible in Vegas (starting with HLG and ending with a convincing HDR output) or my settings are still off.
Although the TV recognized the completed project as HDR, the actual appearance of the clips’ dynamics were somewhat sub-SDR. Vegas had no trouble ingesting the 8bit Sony HLG clips. I also had long render times, but rendering is not quick when exporting out via FCP’s Compressor either. In the process I had 2 crashes, something I’ve almost never had with FCP ever since I began using it. Not being familiar with Vegas (I use FCP exclusively for HLG in and HLG out), it took me a few attempts with different settings in Vegas before I got the HDR to trigger on my LG OLED. So I tried Vegas Pro 16 just to see if a) render times were an improvement over FCP and b) whether it would ingest HLG clips and spit them out as HDR10 with little change in the video’s dynamics.