Thread: Proper HDR workflow

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  1. #51  
    Senior Member jake blackstone's Avatar
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    Quote Originally Posted by Christoffer Glans View Post
    Unfortunately, it doesn't matter if I analyze or not, the behaviour is the same. The problem is a two-parter. First there's this with the 100 nits tone mapping not behaving correctly (all other tone mapping options behave as expected), while the second problem is the worst part; that I can't export HDR H265 files without them looking the same as in that picture. Settings all over and in export are set according to the Dolby crash course videos you linked to before. So still a mystery why Resolve behaves like this for me.
    Here are the frame grabs of my DolbyVision HDR test project done at 1000 nits and tone mapped to BT1886 with H265 QT render shown next to the tone mapped GUI image. They match and everything works correctly. I haven't done 1000nits ST2084/PeD65 render as I don't have an appropriate HDR monitor, but I don't see any problems with doing HDR project and rendering H265.

    [IMG][/IMG]


    [IMG] [/IMG]
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  2. #52  
    Senior Member rand thompson's Avatar
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    Jake,


    I was using the RWG/LOG3G10 For Both Input And Timeline. In the 5th Dolby Vision about halfway through, They say you could use the files own Color Space, and not be restricted to the P3 D65, ST.2084. As long as you restrict the "Limit The Output Gamut" to P3-D65. I am assuming you have a Higher than L-1 metadata license for those "Trim" parameters to be active also.

    I think I will try your settings. Thanks!!
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  3. #53  
    Senior Member rand thompson's Avatar
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    Here Are the Settings I used. And it looked the same on my HDR TV as well.





    I had to do a Full Screen Screen grab to get this image. I couldn't export the image out



    Last edited by rand thompson; 10-21-2020 at 11:03 PM.
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  4. #54  
    Senior Member jake blackstone's Avatar
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    Quote Originally Posted by rand thompson View Post
    Jake,


    I was using the RWG/LOG3G10 For Both Input And Timeline. In the 5th Dolby Vision about halfway through, They say you could use the files own Color Space, and not be restricted to the P3 D65, ST.2084. As long as you restrict the "Limit The Output Gamut" to P3-D65. I am assuming you have a Higher than L-1 metadata license for those "Trim" parameters to be active also.

    I think I will try your settings. Thanks!!
    There is nothing wrong with using RWG/LOG3G10 settings with Red material for the timeline. I prefer to use something more common like BT2020 or D65P3, because if you have mixed timeline sources, RWG/LOG3G10 choice is less than ideal. P3 or BT2020 are big enough to be able to accommodate pretty much any sources and deliverables. This way, regardless of the source it is always the same and I don't have to keep changing it, but that's my choice...
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  5. #55  
    Senior Member rand thompson's Avatar
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    Quote Originally Posted by jake blackstone View Post
    There is nothing wrong with using RWG/LOG3G10 settings with Red material for the timeline. I prefer to use something more common like BT2020 or D65P3, because if you have mixed timeline sources, RWG/LOG3G10 choice is less than ideal. P3 or BT2020 are big enough to be able to accommodate pretty much any sources and deliverables. This way, regardless of the source it is always the same and I don't have to keep changing it, but that's my choice...

    Yeah,

    I was trying the RWG/LOG3G10 out to see how it would work. I didn't see really any difference. So, as you stated, P3-D65 will probably be best.


    I also ran another test this time with ("1000Nits P3,D65 ST.2084 Full) and it looked different to my previous post. However, when I chose "DOLBY VISION" under "TONE MAPPING", it had a default "100nit BT.709 BT.1886 Full" greyed out. At the beginning of the Export to H.265, it looked the same as in the DOLBY VISION palette. But when the export started it transformed to like the 100nit Rec709 image from my previous post. When it was finished, it reverted back to the way it looked in the DOLBY VISION palette again.

    When I played the 100nit 709 BT1886 full range video and the 1000Nits P3,D65 ST.2084 Full video on the Tv, they looked exactly the same.












    Last edited by rand thompson; 10-22-2020 at 12:16 AM.
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  6. #56  
    Senior Member jake blackstone's Avatar
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    Quote Originally Posted by rand thompson View Post
    Yeah,

    I was trying the RWG/LOG3G10 out to see how it would work. I didn't see really any difference. So, as you stated, P3-D65 will probably be best.


    I also ran another test this time with ("1000Nits P3,D65 ST.2084 Full) and it looked different to my previous post. However, when I chose "DOLBY VISION" under "TONE MAPPING", it had a default "100nit BT.709 BT.1886 Full" greyed out. At the beginning of the Export to H.265, it looked the same as in the DOLBY VISION palette. But when the export started it transformed to like the 100nit Rec709 image from my previous post. When it was finished, it reverted back to the way it looked in the DOLBY VISION palette again.

    When I played the 100nit 709 BT1886 full range video and the 1000Nits P3,D65 ST.2084 Full video on the Tv, they looked exactly the same.
    Unless your mastering monitor is 4000 nits, there is a zero need for 1000 nits tone mapping. You always tone map down, so 1000 nits choice doesn't make sense. You need to select proper mastering display brightness in DolbyVision preferences (1000 nits) then you should see 100 nits available for tone mapping. You don't need license for that. Only for trim controls.
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  7. #57  
    Senior Member rand thompson's Avatar
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    Quote Originally Posted by jake blackstone View Post
    Unless your mastering monitor is 4000 nits, there is a zero need for 1000 nits tone mapping. You always tone map down, so 1000 nits choice doesn't make sense. You need to select proper mastering display brightness in DolbyVision preferences (1000 nits) then you should see 100 nits available for tone mapping. You don't need license for that. Only for trim controls.
    Yeah, I understand what you're saying. I was doing so experimenting to test out a theory I had. I found the solution to my problem. Thanks again!
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  8. #58  
    Senior Member rand thompson's Avatar
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    For Dolby Vision Master Files use either a TIFF Sequence or an IMF file


    TIFF




    Then Go to the "EDIT" Page, then under "FILE", "Export AAF,XML.." to export the XML Metadata version of DOLBY VISION you will need to go along with the "TIFF" Sequence above to be be combined later.







    IMF

    This combines the image sequence and the XML Metadata file into one file. Use Main Level 6 Sub Level 3 for a 4K UHD video with a frame rate lower than 30 frames per second. And use Main Level 7 Sub Level 4 for a 4K UHD video with a frame rate higher than 30 frames per second. Make sure "NONE" is chosen for DOLBY VISION "Tone Mapping"






    Higher than 30FPS










    According to Netflix Page 5 of the Netflix Originals Delivery Specifications v3.3

    https://drive.google.com/file/d/0B37...5sMzNwcmc/view


    The Netflix IMF Workflow
    https://netflixtechblog.com/the-netf...w-f45dd72ed700


    Last edited by rand thompson; 10-24-2020 at 04:22 PM.
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  9. #59  
    Senior Member rand thompson's Avatar
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    The ACEScct HDR workflow, atleast to me, seems to give a more accurate DOLBY VISION RWG/LOG3G10 color Analysis for the "100nit, BT.709, BT1886 Full" than the "Color Managed" workflow.


    "Color Managed" HDR








    "ACEScct HDR"







    Full Screen, Screen Grab of correction

    Last edited by rand thompson; 10-25-2020 at 08:31 PM.
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  10. #60  
    Senior Member Christoffer Glans's Avatar
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    So I tried the new Resolve 17 beta and set the HDR settings to Blackmagics own HDR system. But it behaves just like before.

    Is Resolve incapable of showing a HDR image in the preview window? Is it locked to only showing HDR out? I also set everything to 2000 nits, but the scopes show that when pushing the gain it ends up at 900 nits maximum.
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