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  1. #31  
    Senior Member rand thompson's Avatar
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    Resolve 17 IPP2 Color Managed vs Davinci Wide Gamut Color Managed for SDR delivery


    The Resolve 17 IPP2 Color Managed workflow does a better job of keeping colors from going "OUT OF Gamut" than the Davinci Wide Gamut Color Managed workflow does.















    Also, trying to Control "OUT OF Gamut" colors in Davinci Wide Gamut Color Managed , better looking results were gotten using the "Gamut Limiter" than the "Gamut Mapping" OFX plugin.













    Last edited by rand thompson; 11-10-2020 at 06:37 PM.
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  2. #32  
    Senior Member rand thompson's Avatar
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    With the "Color Warper" color correction tool, You can isolate colors and change them.


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    Green Sky






    Purple Sky



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  3. #33  
    Senior Member rand thompson's Avatar
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    Car Color Change with "Color Warper" tool


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    With Color Warper










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  4. #34  
    Senior Member rand thompson's Avatar
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    Skintone Change Color Warper


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    Color Warper










    Last edited by rand thompson; 11-13-2020 at 09:34 PM.
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  5. #35  
    Senior Member rand thompson's Avatar
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    9 DaVinci Resolve 17 NEW Features that are AWESOME!!!


    By Jason Yadlovski


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  6. #36  
    Senior Member rand thompson's Avatar
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    Davinci Resolve 17 Magic Mask


    By JSFILMZ







    DaVinci Resolve 17 NEW HDR Controls Tutorial


    By Nathan Carter


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  7. #37  
    Senior Member rand thompson's Avatar
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    Room Color Warper


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    Color Warper





    Last edited by rand thompson; 11-11-2020 at 02:14 PM.
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  8. #38  
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    Is there a proper order of operations when grading in HDR? (E.g. specifically, work from black up or set highlights first?)

    Also is it pointless to grade HDR for something conservative, like 300nits? I'm thinking because consumer displays (HDR tvs, phones, tablets, computer monitors) range from 100~1000nits, somewhere in the middle would allow it to display properly across a broader range of devices, while still giving a moderate boost in image quality over SDR.

    Plus, I don't feel confident in the accuracy of rendering out conversions to lower nits from a higher source (much less going from a 1000nit HDR master to 709/SDR), so would like to know if there's a lowest common denominator somewhere?
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  9. #39  
    Senior Member rand thompson's Avatar
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    Mike,

    I'm still learning the HDR workflow myself, Dolby Vision in my case, but I'll do my best to try to explain from the info I have gathered so far. Jake Blackstone , Phil Holland and any other Dolby Vision Certified Colorist would be a better source of info.

    I've been testings out the ACES HDR workflow not so much the Color Managed HDR workflow.






    OR


    Rec2020 Output Limited to P3D65 if asked for






    Is there a proper order of operations when grading in HDR? (E.g. specifically, work from black up or set highlights first?)
    Basically expose you clips properly and don't use "Positive Lift"( increase shadow info with Shadow or Lift tool) to adjust the shadows, use Gamma and Gain instead. Doing so would affect the letter boxing in your final deliverable. Also some advocate emphasizing specular highlights in your clips others don't.




    Also is it pointless to grade HDR for something conservative, like 300nits? I'm thinking because consumer displays (HDR tvs, phones, tablets, computer monitors) range from 100~1000nits, somewhere in the middle would allow it to display properly across a broader range of devices, while still giving a moderate boost in image quality over SDR.

    I don't have a Dolby Vision License for L8 Metadata(Dolby Vision Version 4.0) so I can't demonstrate the Trim Tools . However, you can include up to I think 3 trim passes which would be the lower nit deliverables from whatever HDR Nit Brightness you started from inside the same metadata as the HDR deliverable or you can process them seperately. You would have multiple Nit Brightness levels all in one.


    Plus, I don't feel confident in the accuracy of rendering out conversions to lower nits from a higher source (much less going from a 1000nit HDR master to 709/SDR), so would like to know if there's a lowest common denominator somewhere?

    With Dolby Vision 4.0, you have about 20 parameters to help refine the "Automatic" L1 metadata to get a much better expression of how the HDR to SDR conversion would look. In the older Version Dolby Vision 2.9, you get 6 refinement parameters to choose from.






    Last edited by rand thompson; 11-11-2020 at 07:04 PM.
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  10. #40  
    Senior Member jake blackstone's Avatar
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    Quote Originally Posted by rand thompson View Post
    ... don't use "Positive Lift"( increase shadow info with Shadow or Lift tool) to adjust the shadows, use Gamma and Gain instead. Doing so would affect the letter boxing in your final deliverable.
    I'm just going to answer this one, as this is simple.
    You are free to use whatever controls you like. The rule of thumb, if your are delivering for Dolby Vision, then at some point before hitting the Analyze Dolby Vision button, you MUST always enable the correct letter boxing- 1.66, 1.78, 2.00, 2.39 etc. That way Dolby Vision will not be confused by dancing black levels, it will disregard everything outside the letterbox area and your deliverable will have a proper letter-boxing regardless of what you decide to do the shadows.
    Also, a quick note, there is no such thing as "grading for 300 nits". SDR grading is always done to 100 nits regardless of what monitor is capable of displaying, period.
    Jake Blackstone
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