“Any size”, any codec, 10-bit 4:2:2 2020 HLG (HDR) format is surprisingly useful in many situations. I use it on all my cameras, when 12-bit ProRES RAW is not involved. In the 12-bit case, I convert/grade directly to target format without the step involving converting linear to log, and then “de-log’ing” again, in the grading phase. No need for that, really.
You can get slightly better quality in Log (especially for SDR use) compared to HLG (depending on camera), but it involves a lot of work in post. Simple LUT based grading seldom solves all requirements - especially for reportage use, where extra noise reduction (very computer intensive) and sharpening can make post time consuming.
You’ll have to judge for yourselve with your own settings for each approach.
Personally I find HLG more forgiving in uncontrolled run-and-gun situations (less “crap” takes), but that’s my personal view based on personal preferences during recording.
When I compared test results for both HLG and Log approaches (recorded in controlled situations), I usually did not see any significant difference, when rendered, that warranted the huge difference in time spent in post - personal view. YMMV.
In many cases, original HLG footage only needs slight tweaks (if any) in post for my main use case: travel aka reportage.
My target format is usually 25 fps h265 10-bit 4:2:2 2020 HLG (broadcast format) rendered to between 75 and 150 megabit per second in between 2.4:9 and 16:9 2160p format. Most TV’s will have a hard time handling this (use h264 instead, but quality suffers). Smartphones (billions of users), tablets and Apple Silicon MacBooks have no problem delivering decent HDR viewing results.
If you’re striving for traditional “movie” results, and you’re willing to invest the required time in post, HLG is not for you.
If you “just” want very good quality video HLG may be a solution.
Choice is highly personal.
Regards
