Proper HDR workflow

[Christoffer Glans]

So I've never been forced to do a HDR grade, so never truly dipped my toes into it. But there will be a time where I need to do it so I've started looking into the entire process. So far, it's gone to hell.
I've watched a few Red HDR workflow clips on how to set things up, but it still doesn't work. Right now, I'm working with a Samsung Q9FN which has around 2000 nits 4K.

But the output doesn't look at all like within Resolve and I can't seem to get the settings correct. I'm doing a RWG/LOG3G10 workflow with the output LUTs from Red set to a high contrast very soft rolloff 2020 LUT. The idea here is to be able to grade something for rec709 and then switch out the output LUT for a 2020 LUT and have a proper HDR conversion of the same grade. But even if I only grade directly for HDR, nothing comes out correctly.

[Michael Tiemann]

What is your signal flow from Resolve to the Samsung? I have no trouble at all using RED RAW -> Resolve -> Decklink 8K -> SDI -> FSI XM310K.

[Christoffer Glans]

What is your signal flow from Resolve to the Samsung? I have no trouble at all using RED RAW -> Resolve -> Decklink 8K -> SDI -> FSI XM310K.

At the moment I don't have an output card for HDR, just my old DeckLink 3D. I was thinking it has something to do with this, but shouldn't HDR workflow work within Resolve anyway? If we look at the settings and scopes its all within range and it only looks like this when I check the rendered files, even in dedicated SSD play on the TV itself.

Everything looks ok when working in Resolve and the Samsung is used as the working monitor, with HDR enabled.

[rand thompson]

Christoffer,


I'm in the same boat as you and I am still learning the HDR process as well.


Try these settings, in "Theory" this is what I would try. Maybe someone like Phil who has knowledge of Dolby Vision will chime in.

Edit:

Also, what percentage of the 2020 Color Gamut is your monitor capable of rendering?

[Michael Tiemann]

Are you rendering to H.265 with Main10 profile? H.264 will do everything in its power to screw you up, and, sadly, Davinci Resolve will do everything in its power to shift you from H.265 to H.264 whenever you switch between MP4 and QuickTime. Which is super-annoying.

[Michael Tiemann]

At the moment I don't have an output card for HDR, just my old DeckLink 3D. I was thinking it has something to do with this, but shouldn't HDR workflow work within Resolve anyway? If we look at the settings and scopes its all within range and it only looks like this when I check the rendered files, even in dedicated SSD play on the TV itself.

Everything looks ok when working in Resolve and the Samsung is used as the working monitor, with HDR enabled.

Also, if you start a fresh project using your rendered output as the input, what does Resolve think it's looking at? Does it properly display as HDR-rendered video when played back on Resolve UI and on Samsung used as GUI playback monitor?

[Steve Sherrick]

Keep an eye out for one of Dado's classes. He had one on HDR mastering, not sure if you can still enroll into it.
https://www.colour.training/all-courses/

[rand thompson]

Steve,

Yeah, I've been waiting on a Tut from Dado as well. I've seen one from him involving Arri but nothing specifically with RWG/LOG3G10.

[jake blackstone]

Start with this first:

https://professional.dolby.com/conte...torial-series/

It helps if the information is coming from a company that actually invented it by someone who actually is a working colorist and had done DolbyVision work in the past.
It also wold help if one familiarized with the DolbyVision deliverables requirements.
Trying to figure the DolbyVision process without a firm understanding of the DolbyVision fundamentals simply will not work. Initially it is a frustrating process, but once it is done correctly, things will quickly start making sense ...
One more thing, for a PROPER delivery of DolbyVision compliant master, you will need a DolbyVision license. Technically you can deliver DolbyVision material without the DolbyVision license, but that will not be a true DolbyVision master. Many clients will require at least one tone mapped pass for Rec-709 and that is impossible without the DolbyVision license. I believe it's $2500, but I could be wrong on the exact number...

[rand thompson]

Start with this first:

https://professional.dolby.com/conte...torial-series/

It helps if the information is coming from a company that actually invented it by someone who actually is a working colorist and had done DolbyVision work in the past.
It also wold help if one familiarized with the DolbyVision deliverables requirements.
Trying to figure the DolbyVision process without a firm understanding of the DolbyVision fundamentals simply will not work. Initially it is a frustrating process, but once it is done correctly, things will quickly start making sense ...
One more thing, for a PROPER delivery of DolbyVision compliant master, you will need a DolbyVision license. Technically you can deliver DolbyVision material without the DolbyVision license, but that will not be a true DolbyVision master. Many clients will require at least one tone mapped pass for Rec-709 and that is impossible without the DolbyVision license. I believe it's $2500, but I could be wrong on the exact number...

Yeah, I guess that would help, thanks for the link.