Output Transform is not available for my Komodo Footage

[rand thompson]

Tarak,

For Phil's PhilmColor Luts to work correctly, they require that the RED.R3D file be in the "RWG/LOG3G10" Color Space. The settings below sets that up properly. Then once you get to the "Color Page" all you have to do is make sure that the very Last node of your Node Tree Grade contains the Red "MEDIUM/SOFT" IPP2 Output Transform Lut and that the PhilmColor Lut or any other Lut designed for the RWG/LOG3G10 Color Space is added before the IPP2 Output Transform Lut as demonstrated below. I believe as you mention that the only way to change the Output Tone-Mapping and the Hightlight Roll-Off is to change the workflow from RWG/LOG3G10 to REC709/BT1886. However that would be "INCORRECT" because again Phil's Luts are designed for the RWG/LOG3G10 Color Space and they would not look correct if they were added to a REC709/BT1886 Color Space workflow.

 

[Tarak Sidhartha]

Rand,

I am following above workflow. Happy with the results. Thank you so much for helping me. Appreciate it.

 

[Jon Pais]

Is there a way to do Rec.2020 ST2084 (P3-D65 Limited) using the output transform LUTs from Redcine-X Pro in DaVinci Resolve?

 

[rand thompson]

Is there a way to do Rec.2020 ST2084 (P3-D65 Limited) using the output transform LUTs from Redcine-X Pro in DaVinci Resolve?

Jon,

I can't remember off the top of my head if the IPP2 Lut Creator offers a ST2084 setting or If it was a RED equavilent but I don't believe there is a setting offered for Rec2020 ST2084 (P3- D65 Limited). I think you will only find that available inside of Davinci Resolve and some other NLEs.

 

[rand thompson]

Jon,

These are the only settings available in Redcine-X to create an IPP2 OUTPUT TRANSFORM LUT with.

You can also choose what "HDR PEAK NIT" Brightness you need and What Cube size you want from 17 to 65.

 

[rand thompson]

Rand,

I am following above workflow. Happy with the results. Thank you so much for helping me. Appreciate it.

You're welcome Tarak!

 

[Jon Pais]

I found the solution. Create a new node after the CST (RWG Rec.2020 HDR2084 1,000 nits) and apply the Gamut Limiter from Resolve FX Color. For Current Gamut, select Rec2020, for Current Gamma select ST2084 1,000 nits, then Limit Gamut to P3-D65.

From DaVinci Resolve manual:

Gamut Limiter

"Lets you limit the gamut to a specified standard. Useful in situations where the delivery color space is a large gamut such as Rec. 2020, but the QC specification requires limiting to a smaller gamut such as P3, in order to limit the amount of saturation allowable in the final output. This is a limiting operation, so out of bounds values are hard clipped. This plug-in can be used regardless of whether or not Resolve Color Management is enabled. Because it’s a limiter, it should probably be one of the last operations in any node tree to prevent useful image data from being clipped."

 

[rand thompson]

Jon,


I don't have a Monitor currently that can display P3-D65 so I can't check to see how the below "Davinci Resolve Color Managed" settings look. It's just another option to what you presented above. I'm kinda not too keen on anything that "HARD CLIPS" Out Of Gamut Colors like the "Gamut Limiter" I would really like more manual control over the specific colors that are going out of gamut like I do in ACES. But yours might work just fine.

 

[rand thompson]

Or in ACES, I would setup the ACES Workflow as below and use an "ACES TRANSFORM" OFX then use the "ACES PARAMETRIC GAMUT COMPRESS" to control manually the specific color/s potentially going out of gamut.

 

[Jon Pais]

Rand,

P3-D65 limited inside a rec.2020 container is a common HDR deliverable spec. YouTube does not accept P3-D65 ST2084, so the only way to share videos mastered to P3 (my display is calibrated to P3-D65) is to put them inside a rec.2020 container. Rec.2020 constrained to P3 is a mathematical formula and you should not attempt to do this manually. Nearly all my videos uploaded to YT in the past 6 months have been P3-D65 limited. Both videos below must be watched in HDR.

 

[rand thompson]

P3-D65 limited inside a rec.2020 container is a common HDR deliverable spec. YouTube does not accept P3-D65 ST2084, so the only way to share videos mastered to P3 (my display is calibrated to P3-D65) is to put it inside a rec.2020 container. Rec.2020 constrained to P3 is a mathematical formula and you should not attempt to do this manually.

Jon,

Yeah I understand that . no monitor is currently capable of displaying the REC2020 Color Space 100% so the output has to be limited to what most displays can handle, which is P3-D65. I was trying to apply using ACES / REC709 and ACES/P3-D65 to ACES REC2020(P3-D65 limited). So from your response and your experience with it ,there seems to be a big difference. Thank you for the info, I learned something new today

Jon,

I saw your updated post, thanks for the QT offer, Yeah I'm hardware limited currently. But hopefully I'll be able to get a proper HDR Monitor for HDR content and for DOLBY Vision with a license. I know some are making due using LG TVs with modified Factory settings but still....

 

[Jon Pais]

Jon,

Yeah I understand that . no monitor is currently capable of displaying the REC2020 Color Space 100% so the output has to be limited to what most displays can handle, which is P3-D65. I was trying to apply using ACES / REC709 and ACES/P3-D65 to ACES REC2020(P3-D65 limited). So from your response and your experience with it ,there seems to be a big difference. Thank you for the info, I learned something new today

Jon,

I saw your updated post, thanks for the QT offer, Yeah I'm hardware limited currently. But hopefully I'll be able to get a proper HDR Monitor for HDR content and for DOLBY Vision with a license. I know some are making due using LG TVs with modified Factory settings but still....

Rand,

I just added a couple of YouTube uploads to my previous post, one in Rec.2020, the other P3 limited. If you can get your hands on an iPhone or something, you can check them out.

 

[rand thompson]

Rand,

I just added a couple of YouTube uploads to my previous post, one in Rec.2020, the other P3 limited. If you can get your hands on an iPhone or something, you can check them out.

Thanks Jon! I should be able to.

 

[Jon Pais]

If I have a chance next week, maybe I can try to find subject matter with crazy bright saturated colors, which is where any differences would really become apparent.

 

[rand thompson]

If I have a chance next week, maybe I can try to find subject matter with crazy bright saturated colors, which is where any differences would really become apparent.

Jon,

Yeah, you can see the true benefits of HDR with footage exhibiting a wide dynamic range DOLBY VISION I Ilke especially. Again, thanks.

 

[Jon Pais]

I recorded several minutes of a large billboard with intense colors. When switching the gamut limiter in DaVinci Resolve on/off, changes can be easily seen in the vectorscope, indicating the presence of colors that exceed P3, but the picture itself looks the same with the limiter on or off, because, like all displays, the XDR miniLED of my MBP cannot reproduce colors beyond P3. I also struggle to see any difference at all between the original clip and the one uploaded to YT when viewing on either the MBP or on my LG CX.

 

[rand thompson]

I recorded several minutes of a large billboard with intense colors. When switching the gamut limiter in DaVinci Resolve on/off, changes can be easily seen in the vectorscope, indicating the presence of colors that exceed P3, but the picture itself looks the same with the limiter on or off, because, like all displays, the XDR miniLED of my MBP cannot reproduce colors beyond P3. I also struggle to see any difference at all between the original clip and the one uploaded to YT when viewing on either the MBP or on my LG CX.

Jon,

This looks good to me from what I can discern on my REC709 monitor. it probably looks even better on a monitor capable of P3 . What Davinci Resolve settings are you using in your Workflow if you don't mind me asking?

EDIT:

I just watched it on Youtube through REDUSER (since it's "Unlisted) on my 4K HDR TV and it looked great!

 

[Jon Pais]

Jon,

This looks good to me from what I can discern on my REC709 monitor. it probably looks even better on a monitor capable of P3 . What Davinci Resolve settings are you using in your Workflow if you don't mind me asking?

EDIT:

I just watched it on Youtube through REDUSER (since it's "Unlisted) on my 4K HDR TV and it looked great!

Thanks, Rand.

The project settings can be found by scrolling down toward the very bottom of the page: https://daejeonchronicles.com/2021/0...7-part-iv-raw/

And a discussion of Rec.2020 ST2084 (P3-D65 Limited) can be found here:
https://daejeonchronicles.com/2022/0...imited-part-2/

Thank you for sharing tons of invaluable information, Rand.

 

[rand thompson]

Thanks, Rand.

The project settings can be found by scrolling down toward the very bottom of the page: https://daejeonchronicles.com/2021/0...7-part-iv-raw/

And a discussion of Rec.2020 ST2084 (P3-D65 Limited) can be found here:
https://daejeonchronicles.com/2022/0...imited-part-2/

Thank you for sharing tons of invaluable information, Rand.

Thank you Jon and thank you for doing the same!

 

[rand thompson]

Jon,

Here are a few Red IPP2 HDR Output Transform Luts in 1000Nits, 2000Nits, 3000Nits and 4000Nits I made one Saturday a couple years ago when I thought I was going to a full HDR Workflow. Just thought it may save you some time in having to make them yourself. The Rec709 versions I don't believe are useable but I was on a roll so......




Link to - 1.8GB Rand's HDR IPP2 65 Luts(256 Luts in all)
Rand's HDR IPP2 65.zip - Jetdrop: Free Secure File Transfer

Good for 7 Days