HDR, HLG and Log are often grouped together because all three relate to dynamic range and color, but they are not interchangeable capture modes. The easiest way to choose between them is to start with the final delivery and the amount of color work you actually want to do.

Standard footage

A standard profile is usually the simplest option when you want a fast conventional SDR workflow and the scene does not exceed the camera's normal dynamic range. It can be the right choice for high-volume travel or social content where turnaround matters more than maximum grading latitude.

Log or flat footage

Log footage is designed for processing. It often looks low-contrast and desaturated before the correct transform or grade is applied. That does not mean the recording is bad. The goal is to preserve useful tonal information for later adjustment.

A common mistake is trying to “fix” Log by randomly increasing contrast and saturation. A better workflow starts by interpreting the source correctly, then performing exposure, white-balance and creative adjustments in a predictable order.

HDR / HLG capture

HDR delivery requires more than a bright image. The project needs consistent color management, a correct output target and an export that preserves the intended transfer characteristics. If the final destination is SDR, tone mapping becomes part of the workflow.

HDR to SDR

The goal is not simply to compress highlights until nothing clips. A good conversion should retain bright detail while keeping midtones and color believable. Evaluate highlight roll-off, skin/neutral tones, saturation and overall contrast on the same display conditions you expect viewers to use.

Mixed projects

Action-camera edits often contain standard footage, Log clips, phone HDR and material from several camera brands. Normalize sources before making creative shot-to-shot decisions. Otherwise a correction that works for one source may be compensating for an incorrect transform rather than improving the image.

A simple decision tree

• Need the fastest SDR result? Start with a standard profile unless the scene demands more range.
• Plan to grade carefully? Consider Log/flat capture and a controlled transform.
• Delivering HDR? Use a managed HDR pipeline from source interpretation through export.
• Recorded HDR but need SDR? Use tone mapping and judge the final SDR result, not the raw HDR preview.

How Action Video Lab will compare editors

We will separate “fast usable result” from “maximum manual control.” An editor can be valuable because it produces a reliable automatic result even if another application offers a deeper grading environment. The fairest comparison uses the same source clip, same delivery target and clearly documented settings.

When asking for help, include the camera/profile, whether the source is HDR, HLG or Log, the intended output (SDR or HDR), the editor version and a description of the problem: washed-out image, clipped highlights, wrong saturation, incorrect gamma or export mismatch.