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I don’t have access to your particular model of phone, and I don’t know how your DaVinci Resolve workstation is built, but I’ll do my best to make some educated guesses and suggestions. :) From what I can tell, you’re shooting HDR video. And given the “HDR10+” description, it’s likely to be recorded with the PQ (i.e. ST 2084) curve. So this is what I think is happening: • The monitor of your DaVinci Resolve workstation is not capable of displaying HDR properly, which may be why it’s showing a washed-out, desaturated image. Or it can, but Resolve has not been set up to display HDR properly. • Regardless of the reason for the above, what you’re currently seeing is HDR10 being wrongly displayed in an SDR (standard dynamic range) state. But there are definitely ways to fix this, which I’ll discuss in the numbered steps listed below. • Your Samsung S24 Ultra has a HDR display, and it seems that CapCut is leveraging this correctly. But it also likely means that you might be inadvertently exporting HDR videos. • In your own phone, this presents no issues. But if you’re uploading HDR10 videos to social media, you may want to ask someone who has a PC with a normal SDR screen to see if they can watch the content correctly. It may look quite different from what you were previewing on your phone. :) So, coming back to the original issue - how do you work with these HDR10+ videos properly in DaVinci Resolve? There are 2 possible solutions, depending on what kind of display you have. 1. First off, you’ll need to turn on Resolve Colour Management, as detailed in the video. 2. For “Processing Mode”, choose “HDR”. 3. For “Output Color Space”, let’s assume “SDR sRGB” for now. 4. If metadata exists in your H.265 footage, it should automatically become more contrasty and more saturated. If this happens, you can stop at this step for now. 5. But if metadata doesn’t exist, then you’ll need to do a manual override. Go to the “Color” page of DaVinci Resolve. 6. Right-click on the thumbnail of the footage you’re trying to modify. Go to “Input Color Space”. Move to the “Rec 2100” category, then try selecting “ST 2084”. This should cause the footage to behave properly. What you’ve done above is force a conversion from HDR to SDR. This also helps ensure that the content you upload to social media is SDR, and is thus compatible with any display on earth. However, if you’re trying to work in HDR instead, then you just need to make one minor tweak: 7. In the Resolve Color Management settings, choose “PQ” for your “Output Color Space” instead. However, if you see the video become washed out again after doing Step 7 above, there is a possibility your Resolve workstation doesn’t have a HDR display. If you can tell me exactly what kind of workstation you’re using (Windows or Mac) and what kind of monitor you’re using, that would help. :)

As far as I can tell, Samsung’s S23 Ultra supports the HDR10 standard, so if you make content in that standard, you should be able to view it in HDR on your phone. Just make sure to export it in a codec that can support HDR10. Like H.265 (HEVC).

@@Reelisations Thank you

Yes and no. :) Rec 2020 is the colour space for UHD in general. But when UHD first came about, there was only SDR. When HDR arose, it also adopted Rec 2020 as its colour space. Which makes sense, since most consumers will watch HDR in UHD anyway.

🙂

Thanks for your kind words. =) Let me try to address your questions below. Hmmm. Could you clarify what you mean by "why doesn't your footage get destroyed if you bring the timeline to Rec.709"? Didn't quite get the background/context of what you're referring to. As for your RCM settings - I think your Timeline Color Space and Output Color Space look ok, although I tend not to limit my ST2084 to 1,000 nits, because it really depends on what monitor I'm working with. My bigger question is why your Input Color Space is HLG. Did you really shoot with the HLG setting on a compatible camera (like the Sony a7S III that you own)? Also, in order for the above to work, I am assuming that your monitor already supports the ST2084 standard (also known as PQ). If it doesn't, then it's just going to look washed out. Maybe you could also let me know what colour grading monitor you're using?

​@@Reelisations Sorry what I mean by footage getting destroyed is that I suspect that changing the color space from Rec.2020 to Rec.709 (in other words, shrinking the color space), reduces the range of colors. I think ST2084 at 1000 nits is the maximum TH-cam will allow for publishing. Any higher nits and it will basically complain. Yes I shot on HLG3 picture profile on my Sony A7SIII. I like this picture profile because the video looks amazing even without any color grading. As for my monitor, I use a cheap SDR monitor while grading in DaVinci. My workaround is to apply a video monitor LUT so I can accurately see what the footage will look like in HDR. You are correct though -- the footage absolutely looks washed out if I view it directly on my SDR monitor without the video monitor LUT applied.

Thanks for clarifying. I’ll do my best to respond based on what I understand from your reply above, but feel free to ask more clarifying questions afterwards. :) This original video was uploaded as a HLG video, which uses the Rec 2020 colour space. So I never actually did a conversion to Rec 709. The reason I chose HLG at the time was because I didn’t like the way TH-cam did its automatic conversion from ST2084 to Rec 709. When I tested HLG at the time, I felt that conversion was more pleasing. But I need to test the ST2084 again to see if it’s changed since. But TH-cam has to do the conversion from Rec 2020 to Rec 709 because there are bound to be viewers who are watching this in SDR (standard dynamic range) HD. Now, when such a conversion occurs, there is a risk of certain saturations exceeding the Rec 709, and thus getting clipped. The reason you’re not seeing much of this in my video is due to 2 reasons: 1. The majority of colours within the scene are safely within Rec 709 already. For example, skin tones are easily reproduced by Rec 709, so there’s no risk of them being clipped. So, what colours can’t easily be replicated by Rec 709? A likely culprit might be colourful neon lights. 2. This one is conjecture, because I need time to test the theory, but I suspect there is some compression of the more saturated colours during the conversion. So the conversion MAY NOT be a simple scaling up of the entire colour space. We can see this sort of saturation compression in effect when we do a Rec 2020 to Rec 709 colour space conversion in DaVinci Resolve using RCM. The skin tones are easily scaled, but Resolve tries to prevent the overly-saturated colours from clipping, although there are situations where this clipping can’t be helped. --- On a separate note, your suggestion that TH-cam can’t exceed 1,000 nits is an interesting one… I’ll need to test this for myself when I have access to a TV that can do 2,000 nits or higher.

@@Reelisations Wow you really know your stuff! I would like to ask a few more points of clarification if that is okay in *bold*. This original video was uploaded as a HLG video, which uses the Rec 2020 colour space. So I never actually did a conversion to Rec 709. *Sorry, I initially thought it was Rec 709. -- at **4:33** it says your input color space is Rec 709 for some reason...* The reason I chose HLG at the time was because I didn’t like the way TH-cam did its automatic conversion from ST2084 to Rec 709. When I tested HLG at the time, I felt that conversion was more pleasing. But I need to test the ST2084 again to see if it’s changed since. *I do not like the way TH-cam does its automatic conversion from ST2084 to Rec 709 either. Wesley Knapp engineered a LUT that can be incorporated in the metadata during upload to provide a nice and similar look between the SDR and HDR versions here: www.wesleyknapp.com/blog/hdr * But TH-cam has to do the conversion from Rec 2020 to Rec 709 because there are bound to be viewers who are watching this in SDR (standard dynamic range) HD. *As mentioned above.* Now, when such a conversion occurs, there is a risk of certain saturations exceeding the Rec 709, and thus getting clipped. The reason you’re not seeing much of this in my video is due to 2 reasons: 1. The majority of colours within the scene are safely within Rec 709 already. For example, skin tones are easily reproduced by Rec 709, so there’s no risk of them being clipped. *This makes sense. I always wondered why skin tones look nearly identical in SDR and HDR.* So, what colours can’t easily be replicated by Rec 709? A likely culprit might be colourful neon lights. *Yeah another example would be plants I've noticed. It is quite noticeable in a lot of my recent uploads.* 2. This one is conjecture, because I need time to test the theory, but I suspect there is some compression of the more saturated colours during the conversion. So the conversion MAY NOT be a simple scaling up of the entire colour space. *I look forward to hearing more about your test results.* We can see this sort of saturation compression in effect when we do a Rec 2020 to Rec 709 colour space conversion in DaVinci Resolve using RCM. The skin tones are easily scaled, but Resolve tries to prevent the overly-saturated colours from clipping, although there are situations where this clipping can’t be helped. *As mentioned above, I have found using the Wesley Knapp LUT does a really good job at mimicking the color space conversion in DaVinci Resolve.* --- On a separate note, your suggestion that TH-cam can’t exceed 1,000 nits is an interesting one… I’ll need to test this for myself when I have access to a TV that can do 2,000 nits or higher. *I am looking forward to hearing your findings on this one too!*

*_Sorry, I initially thought it was Rec 709. -- at _**_4:33_**_ it says your input color space is Rec 709 for some reason..._* I actually replied you regarding this in another thread that you commented on, but I'll repeat it here for your convenience. =) At around 4 min 26 sec into this video, I linked to another video I did where I explained that DaVinci Resolve automatically detects any RAW codecs that it supports, so there's no need to enter the Input Colour Space manually. This is regardless of brand - it works for REDCODE RAW, ARRIRAW, Sony RAW, Canon RAW, etc. Here's the link: th-cam.com/video/rqcapEgfK2U/w-d-xo.html In retrospect, I probably should've just mentioned this fact when recording the HDR10 video, so there would be less confusion. 😛 *_I do not like the way TH-cam does its automatic conversion from ST2084 to Rec 709 either. Wesley Knapp engineered a LUT that can be incorporated in the metadata during upload to provide a nice and similar look between the SDR and HDR versions_* Thanks for the link! It was interesting to see how he found ways to engineer around the limitations. Very cool.

Lol. 😛

There are 2 different reasons at play here. I’ll try to explain them one by one. For HDR10, it’s an aesthetic choice. I’m sure that if you look hard enough, you’ll eventually find graded shots in the real world that touch 0 nits. Maybe HDR demo videos that have a pure black background. But if I’m grading an architecture shot of a white room flooded with sunlight, I may not have the opportunity to show a 0-nit value at all, since there may not be any pure blacks in the brightly-lit room. So it’s dependent on circumstance and what’s right for the story we’re trying to tell. As for Log files - it’s more of a technical consideration. Because of the way video is sampled during compression, there are fewer shades available to encode the colour in the shadows than there are in the highlights. It’s a little difficult to explain without drawing diagrams, and unfortunately I couldn’t find an article to correlate this, but you can see it in this video excerpt: th-cam.com/video/h9j89L8eQQk/w-d-xo.html (It’s a great video, btw. So do watch the whole thing if you can. 🙂) So I think most Log curves endeavour to stay away from the absolute bottom of the waveform in order to preserve as many shades as possible during the recording / grading. You can then make the aesthetic choice of crushing that information later on, rather than losing that information to banding at the beginning.

Hi Pawel, Because RED is one of the sponsors for this video, I based that section of the script on their available materials. You can see their specs for the MONSTRO sensor on this page for the product: www.red.com/DSMC2-BRAIN?quantity=1&sensor=1 And as much as I’d love to, I don’t personally have access to a DSC Labs Xyla 21 test chart. 😛 However, I was able to locate some articles where Phil Holland’s tests with RED cameras using that chart can be seen: • www.phfx.com/articles/oneYearCapturedIn8K/#why • www.phfx.com/articles/forgedIn8K/ • www.newsshooter.com/2015/11/04/red-vs-red-the-dynamic-range-of-the-weapon-and-epic-dragon-tested-by-phil-holland/ However, I do know there is sometimes contention about what is a “usable stop”. On that, I think we will all just have to agree to disagree. 🙂 Now, all of the above chart links refer to the older DRAGON sensor. But based on my simple, qualitative assessment during prior shoots, I feel that the MONSTRO sensor is definitely cleaner and has better highlight handling than the DRAGON sensor. So it’s not a far throw for me to believe that MONSTRO has the 0.5 stop advantage over DRAGON that RED says it does.

Just to make sure I’m not misconstruing your question, this is what I understand Average Pixel Level to mean: “[APL] simply refers to the brightness of the image averaged across the whole screen. White is brighter than black, so a full screen of white would have a much higher APL than a full screen of black. A window only takes up a portion of the screen while a field takes up the whole screen, so a white window has a lower APL than a white field. While APL will vary during a movie for example, the average level of brightness across the screen for a majority of video content would generally come nearer to a full screen of black than a full screen of white.” - extracted from shambarger.net/public/scott/Manuals/Patterns-AVCHD-MP4.pdf “Both full field and window (partial field) test patterns have been used to test display gamma. The APL of both full field and window test patterns changes, though, as the measurement stimulus level changes. “A full field test pattern has an APL that is the same as the pattern stimulus level (pixel level). “A full-field test pattern produces 100% APL at 100% stimulus, with proportionally lower APLs at lower stimulus levels. The APL varies from 100% to 0%. “Window patterns with a black background have been in use for a long time for display measurements. These patterns minimise the APL change when switching between different stimulus levels, as compared to full field test patterns. “A window pattern that fills 25% of the screen (Figure 8), with a black background, produces 25% APL at 100% stimulus, with proportionally lower APLs at lower stimulus levels. The APL varies from 25% to 0%.” - extracted from kb.portrait.com/help/constant-apl-test-patterns#:~:text=Average%20pixel%20level%20is%20a,effects%20that%20may%20be%20active So, in my mind, APL is expressed as a percentage, not nits. And you’re right - as far as I know, there is no way to see APL in the scopes. But tbh, I don’t use APL as a metric when I’m analysing how to grade an image. That’s not my thought process at all. Instead, this is how I’m thinking: * Is the highlight in this shot bright enough to warrant going above 100 nits in the first place?
 If it’s a specular highlight like sunlight glinting off a river, then sure. I might even take it close to 1000 nits, if the story warrants it.
 But if it’s just someone’s white t-shirt in the shade, then maybe I might target diffuse white instead - around 200 nits.
 * If I’m looking at someone’s skin tone, I’m still likely to place it below 100 nits most of the time. Because I don’t need hundreds of nits to show skin tone properly.
 Unless I’m trying to emphasise in the story that they are dying of dehydration under the baking desert sun. Hopefully you can see from above that I’m always considering what is plausible in real life, combined with what works for the story. The aesthetic is king, and I’m using the scopes as a guide to get me there without losing useful image data. Hope this helps somewhat! 🙂

Actually, both of the shots are REDCODE RAW footage. =) If you'd like to try out the car shot for yourself, it's available here: www.red.com/sample-r3d-files

@@Reelisations Wow thanks for the link lots of amazing footage there to play with

No worries. :)

Hmmm. Tbh, I try not to have an opinion about this, since there are so many great cameras today. Instead, I'd use the following as my guiding principles for choosing a camera to shoot HDR: • Dynamic Range - General consensus is that a HDR camera is one that needs to capture more than 12 stops of dynamic range. There are MANY of these now. =) And you'll probably want one with the ability to record with Log. • Bit Depth - HDR10 delivery is 10 bits, so I'd opt for a camera that has at least 10-bit recording capability. There aren't many options for 10-bit codecs in the consumer range. • Chroma Subsampling - In order to preserve some level of flexibility during the colour grading process, you'd want at least 4:2:2 chroma subsampling during recording. Again, there aren't that many consumer devices with codecs that offer this. Ideally, you'd want 4:4:4 or motion RAW, but those immediately limit your options to the professional / broadcast / cinema realm.

@@Reelisations thanks man i have currently ordered the Lumix S5. but i guess i need an monitor to be able to record in pro res och blackmagic raw. and i also need an recording card to my PC to be able to output an HDR signal to my HDR tv. lots of stuff is needed here but i think it will be worth it. Also HDR10 looks far superior to the HLG clips i have seen from this camera. and for that color grading is needed

Since you’re using a PC, you can seriously consider the Blackmagic Design DeckLink Mini Monitor 4K if you don’t need to go above 30 fps. That’s a decent entry-level card for HDR. If you need to go above 30 fps, do check out the higher-end models. :) When grading on a TV for HDR10, don’t forget that each type of TV panel technology has a different peak white level. In your case, you have indicated that your TV can achieve 1400 nits. So if you try to hit 2000 nits, you’ll probably end up clipping the highlights instead. It’s just the limitation of the television panel being used. :)

Please make a new video going over an HDR workflow with red footage using the latest Resolve

That’s a great suggestion. Let me have a think about what can be done to update this video. I don’t make TH-cam videos as a full-time job, so if it does happen, it might take a while. 😛

​@@Reelisationsthis video should be updated .I have now new camera thats support hdr hlg 2020 and want exoport my video to youtube using st2048 pq not hlg as pq is properly working on my android device .For now all my upload dont have active hdr .I dont know what i am missing .

Making an update video is something I’ve seriously considered. Thanks for your suggestion on what topics could be added. :) As to what you’re asking about - I have 2 clarifying questions: 1) What platform are you uploading to? TH-cam and Vimeo both support HLG, as do some other social media platforms, so I’m a little surprised that HLG is not working for you. Do you happen to know if your Android phone also supports HLG? I’m wondering if the bottleneck could be happening there. 2) HLG to PQ conversion within DaVinci Resolve is somewhat possible, but you’ll probably still need to tweak the grade depending on the highest and lowest nit levels you’re trying to achieve. Do you happen to know what levels you’re aiming for?

🙂

Thanks! I try to be succinct and clear. =)

Glad you think so!

You might not have turned on DaVinci YRGB *Color Managed*. In the older versions of DaVinci Resolve, you couldn't manipulate the Output Colour Space without turning on RCM (Resolve Colour Management). But in newer versions, you now can. However, do keep in mind that you aren't actually transforming the colour of the footage if RCM isn't on. =)

Glad it was helpful!

Hope it helps! =)

Wow, thank you!

I do generally like the OLED HDR TVs (especially those that can be calibrated), but there's an inherent upper limit that currently still exists in 2022. Most OLED TVs have an upper limit of around 800 nits or less. Whereas professional displays like the EIZO CG3146 can achieve 1,000 nits while maintaining accuracy. In other words, if you tried to push beyond the upper limit of the TV, your highlights would just clip. No detail. So if you're mastering for a client like Netflix, using a TV as your primary colour grading screen probably wouldn't fly. But if you're experimenting with HDR for clients who want to display their content on HDR consumer screens, it's something worth considering. =) Just keep in mind where your upper limit is. If you want to play very safe with a consumer TV, aim for around 600 nits as your maximum luminance. And ensure that the video feed has HDR metadata that will tell the TV to switch over to HDR mode. That's why DaVinci Resolve has a "Enable HDR metadata over HDMI" setting in Project Settings -> Master Settings -> Video Monitoring. It's for this very purpose. This metadata is sent via a compatible Blackmagic Design video output device. In the case of this video, I was using a Blackmagic Design UltraStudio 4K Extreme 3 to send the video feed to the monitor. But you don't have to use that particular model. You can use another model like the UltraStudio 4K Mini or cards like the DeckLink Mini Monitor 4K. You just need to check their specs to see what their upper limits are in terms of HDR capability.

Hi Marco, I don't think it's impossible, but do keep in mind the following: • A HDR TV may not be accurate enough for certain clients like Netflix. However, if you're experimenting with HDR for clients who aren't as stringent about their deliverables, that might be fine. So it depends on what you intend this setup for. =) • Also try to find out the max luminance that the TV or monitor you're using can achieve. That will determine the limits of your colour grade. For example, if you're using an OLED TV that maxes out at 700 nits, then that's your upper limit. If you tried to push beyond the upper limit of the TV, your highlights would just clip. No detail. • As for the iMac 5K late 2015 - to be honest, without knowing what kind of your footage you're trying to grade, it's nigh impossible for me to tell. But if you're grading high-resolution RAW footage, then I suspect you'd be straining at the limits of the machine. 😛

Thanks for your kind words. =)

Sorry for the super-late response. As I mentioned in the pinned post above, I hadn't realised the comments were being withheld. 🤦🏻‍♂️ Hmmm. The thing is that 4K DCI Scope is a description of aspect ratio, and doesn't directly affect colour. Perhaps you could clarify if you actually mean that your clients want to grade for cinema, i.e. DCI-P3 colour space? Or UHD TV, i.e. Rec 2020 colour space? If all you need to do is grade for Rec 709 while achieving 4K DCI Scope, then you just need to make sure you choose the correct Timeline Resolution in the Project Settings.

In an ideal world, everyone would master to HDR first. That would be fantastic! But there are 2 considerations: The current barrier to entry is access to a HDR monitor (like the EIZO CG3146) that's suitable for professional HDR colour grading. However, as time passes, I'm sure that the technology will become even more accessible and prices will become more attractive. The other question is how to derive an SDR (standard dynamic range) version that would work for most of today's screens. Because it's 2022 as I write this, Rec 709 (HD's colour space) and sRGB are still the most prevalent viewing state consumers find themselves using. So how would one grade for HDR and yet ensure the creative intent remains largely intact when converting to SDR? (Keeping in mind that highlights would, of course, become compressed when adapting the HDR grade to SDR.) The answer to the above is Dolby Vision. =) And I hope to one day do a video on Dolby Vision so we can clarify how we can master for both SDR and HDR simultaneously. Which would also be very useful for those wanting to deliver to Netflix.

@@Reelisations ah, gotcha, makes sense. Thanks for the explanation!!

It really depends on how you're watching it. Most platforms have some sort of adaptation happening. =) TH-cam does an automatic conversion from HDR to SDR for all the HDR content that's uploaded onto its platform. So does Vimeo. So if you have a HDR screen, you see HDR. But if you have an SDR screen, you're watching an SDR conversion. =) And if you're watching Netflix - most, if not all, Netflix HDR programmes are delivered in Dolby Vision. Which means that Netflix can derive both SDR and HDR versions from the same package, depending on the capabilities of your current screen. =)

Certainly. As I mentioned in the pinned post above, I do apologise for the radio silence. I hadn't realised the comments were being withheld. 🤦‍♂

Hmmm. There are 2 schools of thought of how you can approach this. One is more complicated, and one is simpler. I'm assuming below that your content is HDR10, and not HLG. Option 1: If you don't really want to preview the HDR10 material, and don't mind editing really flat-looking material, then you can just cut, trim and rearrange the footage as per normal. Then, when exporting in the Deliver page, you have to make sure the correct metadata is embedded in the exports. • Color Space Tag - "Rec.2020" • Gamma Tag - "Rec.2100 ST2084" I can't really advise what files to export because I don't know who you're exporting for. But to maintain quality, I tend to favour ProRes or DNxHR. H.264 and H.265 can potentially work too, but you need to find out how to configure their exports depending on the platform you're delivering to. Whether it's a TV, a social media platform, etc. As an example, below are TH-cam's current HDR upload requirements: support.google.com/youtube/answer/7126552 You may notice that TH-cam doesn't support H.265 at the time of writing. Option 2: If you want to be able to watch the content in HDR, then you might want to turn on RCM (Resolve Color Management). You still have to do most of the stuff in Option 1, but there are additional steps below. After turning on RCM, you'll probably want to set it up in the following way: • Input Color Space - Rec.2100 ST2084 • Timeline Color Space - Rec.2100 ST2084 • Output Color Space - Rec.2100 ST2084 This SHOULD enable you to watch the content correctly on a HDR monitor, but do let me know if it works for you. If it doesn't, do right-click on any of the clips (in the Color page) and check what the Input Color Space is. Make sure they are all set to "Rec.2100 ST2084", which is the usual standard for HDR10. Now, regardless, for both options, the one thing I can't predict is how the footage was originally graded. In other words, I don't really know the max luminance it was graded for. Whether it was 1000 nits, 2000 nits, 600 nits, etc. This may have a slight bearing on the metadata being exported, so do keep an eye on it.

You're welcome!

That is a great observation. =) Because I was grading REDCODE RAW, DaVinci Resolve automatically knows how to transform the footage. This applies to any RAW files (Sony RAW, ARRIRAW, Canon RAW, etc.). So there's no need to specify the Colour Space nor Gamma. In fact, Resolve would ignore most of your attempts to modify the Input Color Space. That's also why I put a link to my previous video in the upper-right-hand-corner - to explain why the Input Color Space isn't on. Here it is again: th-cam.com/video/rqcapEgfK2U/w-d-xo.html However, if I was grading footage where insufficient metadata was present, I would certainly need to specify the Colour Space and Gamma. For example, if I was grading Sony FS7 footage that was recorded on an Atomos external recorder, the files may not have the necessary metadata. I would then need to specify in the Input Colour Space that I had shot in, e.g. S-Log2 and S-Gamut.

You're welcome!

Thanks for requesting this. You're not the only one. I'll see what can be done about demonstrating this in a future video. =)

I hope the video helped. =)

Hi Jack, this is possible, but as you rightly guessed, it's not the most accurate way. =) So if you're mastering for a client like Netflix, using a TV as your primary colour grading screen probably wouldn't fly. But if you're experimenting with HDR for clients who want to display their content on HDR consumer screens, it's something worth considering. =) One important thing to note - try to use a HDR TV that can achieve at least 540 nits of brightness. If you go below that, results might be lacklustre. In order to connect to the TV effectively, you'd need a Blackmagic Design video output device of some sort. In the case of this video, I was using a Blackmagic Design UltraStudio 4K Extreme 3 to send the video feed to the monitor. But you don't have to use that particular model. You can use another model like the UltraStudio 4K Mini for your MacBook Pro. You just need to check the specs to see what their upper limits are in terms of HDR capability. You can see the various options here in the "Capture and Playback" category here: www.blackmagicdesign.com/sg/products In order to get the TV to go into HDR mode, you have to ensure that the video feed has HDR metadata that will tell the TV to switch over to HDR mode. That's why DaVinci Resolve has a "Enable HDR metadata over HDMI" setting in Project Settings -> Master Settings -> Video Monitoring. It's for this very purpose.

@@Reelisations That's very helpful, thank you!

No worries. You’re welcome. :)

It's true. For accurate results when colour grading material on a professional HDR monitor, you'd need a Blackmagic Design output device of some sort. Because I was working on a Mac in this video, I was using a Blackmagic Design UltraStudio 4K Extreme 3. But you don't have to use that particular model. You can use other models like the UltraStudio 4K Mini or cards like the DeckLink Mini Monitor 4K. You can see the possible output devices on the Blackmagic Design website: www.blackmagicdesign.com/sg/products Look at the category called "Capture and Playback".

So nice of you to say that. =)

Hi, I'm so sorry, but I haven't used BenQ monitors extensively enough to give you specific advice. But these are a few things you might want to think about: • Set up Resolve as I suggested in the video, and turn on the HDR mode of your monitor. • However, keep in mind that the brightness of your model is around 300 nits. And HDR usually requires 540 nits or higher. So I suspect what your monitor is doing is HDR emulation, so it may not be able to show HDR10 accurately. • When using the monitor as a colour grading display, avoid connecting it via your graphics card. For greater accuracy, I'd advise connecting it directly to a video output device from Blackmagic Design (if you're planning to use DaVinci Resolve). In the case of this video, I was using a Blackmagic Design UltraStudio 4K Extreme 3 to send the video feed to the monitor. But you don't have to use that particular model. You can use another model like the UltraStudio 4K Mini or cards like the DeckLink Mini Monitor 4K. You just need to check their specs to see what their upper limits are in terms of HDR capability.

@@Reelisations Thanks 🙏 bro Now I’m using LG OLED CX model Tv

That's great to hear. =) I do generally like the LG OLED TVs (that can be calibrated), but there's an inherent upper limit that currently still exists in 2022. Most OLED TVs have an upper limit of around 800 nits or less. Whereas professional displays like the EIZO CG3146 can achieve 1,000 nits while maintaining accuracy. In other words, if you tried to push beyond the upper limit of the TV, your highlights would just clip. No detail. So, when grading, just keep in mind where your upper limit is. If you want to play very safe with a consumer TV, aim for around 600 nits as your maximum luminance. And I would highly recommend calibrating the LG OLED TV with a probe. The price of the software has come down quite significantly: store.portrait.com/consumer-software/calman-home-for-lg.html

Glad you enjoyed it!

Thank you kindly. I'm actually a freelance Director and educator, so I don't do TH-cam full-time. I tend to only do videos when companies have specific technologies or techniques they'd like to have clarified. But I'm really hoping to do videos in the future that will clarify other topics. So do feel free to let me know what you'd like to know more about, and I'll see what can be done. =)

Hmmm. This is a really broad topic, but I'll give some general pointers below. The way I tend to set up HLG colour grading in Resolve is to use Resolve Color Management (RCM). These are my preferred settings in 2022: • Input Color Space - whatever your original colour space was In your case, I suspect that, if you were to right-click on your footage after enabling RCM, you'd see it automatically indicated as "Rec.2100 HLG (Scene)". Which is fine. • Timeline Color Space - I'd choose "DaVinci Wide Gamut Intermediate", just so little/no colour is truncated. But it's a personal preference, so feel to deviate here. Note: once you start grading, you can longer change this setting. Changing the Timeline Color Space midway through the process can potentially mess up your grade. • Output Color Space - "Rec.2100 HLG" After all of the above is set up correctly, make sure to switch your HDR monitor over to HLG mode. =) When you export the final deliverable, it needs to embedded with the metadata required for devices to understand it's HLG. If you've already followed the above steps for RCM, then leaving the Color Space Tag and Gamma Tag as "Same as Project" will work fine, as they will follow the Output Color Space setting. If you haven't, then you'd need to manually set them to: • Color Space Tag - "Rec.2020" • Gamma Tag - "Rec.2100 HLG" For TH-cam uploads, I tend to export ProRes or DNxHD. But H.264 can be used as well, as long as you follow the correct settings ( support.google.com/youtube/answer/7126552 ).

@@Reelisations 謝謝您的指導。

Unfortunately the HDR Scopes are only in the paid (i.e. Studio) version of DaVinci Resolve. 😛

You are most welcome. =)

You're welcome. =)

Trying to! 😛

Glad it was helpful!

Many, many thanks.

You're very welcome!

My pleasure!

Unfortunately I'm not qualified to answer FCP X questions, so I don't know if there's any way to adjust the Output Tone Map or Highlight Roll-Off within that app. Sorry about that. However, if you're still looking for the LUTs that allow you to achieve the Output Tone Map and Highlight Roll-Off you require (when grading from Log), they can be found here: www.red.com/download/ipp2-output-presets

In the case of this video, I was using a Blackmagic Design UltraStudio 4K Extreme 3 to send the video feed to the monitor. But you don't have to use that particular model. You can use another model like the UltraStudio 4K Mini or cards like the DeckLink Mini Monitor 4K. You just need to check their specs to see what their upper limits are in terms of HDR capability. For the purpose of this video, I was using a HDMI 2.0 cable to connect to the EIZO CG3145, if I'm not mistaken. Using a lower rating might not have worked. And if I don't recall wrongly, I was able to get 4K DCI in 4:4:4 over HDMI 2.0. But when the newer EIZO CG3146 model came out, I started using 12G-SDI cables instead, because that model has SDI inputs.