Thread: Proper HDR workflow

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  1. #11  
    Senior Member rand thompson's Avatar
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    Jake,

    I remember Dado Valentic did a Color Managed Workflow Live presentation for Davinci Resolve. These were His HDR suggested settings for Netflix with Arri Footage below. Didn't know how those would translate with Red's RWG/LOG3G10.




    Last edited by rand thompson; 10-15-2020 at 12:30 AM.
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  2. #12  
    Senior Member jake blackstone's Avatar
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    As I said, I'd look for an advice from an actual WORKING colorist who had done the work.
    I mostly use Baselight, so I'm not really qualified to answer the question about Resolve settings without spending some extra time studying those closer.
    Nevertheless, just quickly looking at the settings, DolbyVision is always performed using FULL data ranges, so AUTO is not the choice recommended by Dolby.
    Also, the choice of timeline color space is questionable as well...
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  3. #13  
    Senior Member rand thompson's Avatar
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    Thanks again Jake, just wanted your input.
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  4. #14  
    Senior Member rand thompson's Avatar
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    Here's the actual live training video I spoke about, from about 5 months ago. The settings above came from around the last half or last third of the video.


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  5. #15  
    Senior Member Joel Arvidsson's Avatar
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    Check out the replay of these seminars.

    https://www.gotostage.com/channel/dolby-vision-creation


    Dolby vision options.
    The first option is free – and requires no license from Dolby if you have a Color Corrector or Mastering System that supports our latest SDK, (we call that version 4.0). For example, Resolve 15 or 16 can create the basic Level 1 dynamic (shot by shot) metadata without a license from Dolby. This is a great option for simply packaging existing HDR10 deliverables to deliver in Dolby Vision and Mastering houses who only need to create the basic metadata and or package or edit (copy/paste) metadata, not make creative decisions (i.e. modify the mapping with trims – see option 2). Full Master and Mezzanine playback of a Dolby Vision deliverable is also fully supported without an additional license from Dolby. Consult with your tool manufacturer on their feature support.



    The second option requires an annual license from Dolby. The license gives you the ability to enable the Dolby Vision artistic trim controls on top of the Level 1 metadata (for either 2.9 or 4.0 versions). These trims allow the colorist to dynamically adjust the mapping for HDR and SDR targets and is most commonly used on a dramatic/episodic/features headed for Netflix, Disney, WB, Paramount, etc… The annual fee is $ 2,500 (recently lowered from $ 5k per year). We can also do a 6 month version for $ 1,250

    There is also a third option...
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  6. #16  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by jake blackstone View Post
    As I said, I'd look for an advice from an actual WORKING colorist who had done the work.
    I mostly use Baselight, so I'm not really qualified to answer the question about Resolve settings without spending some extra time studying those closer.
    Nevertheless, just quickly looking at the settings, DolbyVision is always performed using FULL data ranges, so AUTO is not the choice recommended by Dolby.
    Also, the choice of timeline color space is questionable as well...
    What if I'm only doing HDR10 work? Or HLG? There's an option for Dolby Vision in the settings, but are you saying that it's recommended to go full Dolby Vision and then convert to HDR10? Without a Dolby Vision capable screen, I think it would be problematic to try going down that route. The Samsung I use right now is I believe only capable of HDR10 HDR+ and HLG.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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  7. #17  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by rand thompson View Post
    Jake,

    I remember Dado Valentic did a Color Managed Workflow Live presentation for Davinci Resolve. These were His HDR suggested settings for Netflix with Arri Footage below. Didn't know how those would translate with Red's RWG/LOG3G10.
    Doesn't look right either. Especially when I'm trying to apply an IPP2 conversion LUT as the output. The whole idea is to be able to grade and just switch out the output LUT in order to deliver both rec709 and rec2020 without much adjustments to the grade.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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  8. #18  
    Senior Member rand thompson's Avatar
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    Christoffer,

    That's my thing as well. The RWG/LOG3G10 workflow has to have an IPP2 Transform Applied somewhere in the chain. Arri Log-C works differently. My logic and the reason I suggested the workflow I Initially did was because the RWG/LOG3G10 colorspace doesn't currently offer a Transform Gamma for Rec2100 ST2084 only ST.2084, is that the same Gamma I don't know. Will using Rec2100 ST2084 properly Transform the RWG/LOG3G10 image, again I don't know.

    I wish we had some Official workflow for HDR with RWG/LOG3G10 in Resolve , preferably from Red. I see so many HDR threads start and then fizzle out and they keep coming back over and over again.
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  9. #19  
    Quote Originally Posted by Christoffer Glans View Post
    Doesn't look right either. Especially when I'm trying to apply an IPP2 conversion LUT as the output. The whole idea is to be able to grade and just switch out the output LUT in order to deliver both rec709 and rec2020 without much adjustments to the grade.
    If you've read the Mystery Box blogs or the Dolby Vision papers, you'll know that the idea of "grade once, deliver anywhere" is not really a thing. I'm not a Baselight expert, but from what I've read, they have done the best job of "grade once, master for each delivery platform, then deliver everywhere". But from what I understand, you still don't have "grade for HDR, deliver to HDR" working in any way shape or fashion, and so the first order of business is to sort that. Once you can reliably grade and deliver HDR, then you can learn what are the pitfalls of trying to use an output LUT as your answer to the multi-platform delivery problem. Have you worked out what is required to get HDR working at all in your situation yet?

    If not, post a 2-second clip of what you think *should* be a good HDR deliverable (that happens to have all the wrong colors on your Samsung) and I'll throw it up on the FSI when I get back to the office and let you know what I've found.
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  10. #20  
    P.S. You may also want to read this thread about how I do HDR+SDR grading. Pro colorist Walter Volpatto told me "that's now how they do it in Hollywood" and then gave his explanation. But long story short: once you have the basics of HDR grading and delivery sorted, the delivery of an additional SDR grade is non-trivial, but also not that hard. Just not trivial.
    Michael Tiemann, Chapel Hill NC

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