OMG...I just realized that the s5IIx with the LUT applied internally, exports the exact kind of file we have as result in resolve, but without this process...exactly the same, I did my own tests. The other videos that compares the LUTs applyed in camera and later in Resolve, are wrong. Because they are not using this settings in resolve. This video is amazing! And I just made a preset with this settings to make more tests and for grading more V-Log material 👊😉
Thanks! Are you talking about Realtime-LUTs or LUTs in DaVinci Resolve to convert VLog to HDR? I made another video about them. White balance and curves is something you often need to adjust individually for each clip, even if you have a LUT.
A comparisson of both. That´s what I did, based in your settings. The results are amazingly accurate. I´ve not done a video, I´m not so brave yet to start my channel, he he he@@CameraRig
Thanks for another GREAT video. I think I may need to consider switching from FCPX to Davinci so that I can follow your tutorial. Too bad the latter doesn't support 8K in the free version - the standard resolution I export my non-cropped/scaled 6K Open Gate 3:2 videos to.
Super Video, vielen Dank! Hast du Erfahrungswerte, bei wie viel Nits unterschiedliche Lichter bzws beleuchtete Elemente liegen sollten? Bei Haut hast du ja 100 empfohlen, gibt es eine Referenzliste oder sowas im Internet?
No, I did not check that. I believe there should be something out there. Personally, I prefer an artistic choice in HDR. I make highlights at night bright, like 800-1000 to get this big contrast that your eyes experience when walking around at night. For peaks, I make sure not to have too many since some TVs will dim after time if they are maxed out in brightness. I like to make the sky a little bit darker, like 600-800 to get more of the blue and to recover more of the gradients of the clouds. For skin it is important to look perfect. If you nail the exposure with your camera, it might only needs some little changes in the curves. But Whitebalance correction in HDR is tedious.
@@CameraRig thank you for the feedback. I might start to grade based on waveforms and the actual content and then check it on my OLED for fine-tuning. Maybe after a while some experience sets in and makes it easier.
Great that you promote HDR deliver. Allow me to share some learnings from working with my LUMIX S1H, Sony Rx100VII, iPhone 13 ProMax, and even the version 1 of the DJI Osmo Pocket: 1. Shooting in HLH may lose some dynamic range, but editing is far easier as you see the colors (skin tones, WB) even without any corrections. 2. Timeline space should always be the HDR wide gamut by Davinci, rather PQ. This provides maximum gamut, comparable to ACESS 3. Use an HDR monitor whenever possible, e.g. a modern Apple MacBook, to see grading results on the fly. 4. You can get HDR delivery even from footage shot in cinelike-D or Rec709. Of course, any log footage will shine a bit more 5. Don’t overdo the whites in HDR. That will make your footage look cheap I enjoy your videos and just subscribed 😊
Thank you so much! Very good insights. But in point 4, it is only partly correct. Here are my suggestions. While you could move rec709 to HDR, this will only work partially well for the brightness levels if you recorded in 10-Bit. The brightness curve is different in HDR. The color space in rec709 is smaller than in rec2020 so you will get banding which you need to reduce with the Demand filter. It is possible to show rec709 footage in an HDR video, but it will be less vibrant and you might need to optimise the footage.
@@CameraRig Thanks for your reply. I fully agree with you that Rec709 is smaller than re2020 as gamut which may represent some challenges when grading and converting to HDR for delivery. This, to be honest, is something I try to avoid. But sometimes, you have shot in Rec709, and the timeline should be for HDR. Regarding banding, I came across an exciting observation that nobody has talked about here in TH-cam yet: most of the banding does NOT come from the camera. It comes from delivering in H.264 which is by definition 8 Bit only - regardless of what expensive camera you have been using. Just deliver in H.265 and set the encoding profile in Davinci Resolve's delivery tab to Main 4:2:2 10 - and, 80% of the banding issues are gone -:)
"5. Don’t overdo the whites in HDR. That will make your footage look cheap" - absolutely agreed; see what mess the iPhone produces in HDR mode. It's practically blinding on a high-brightness HDR monitor like that of the iPhones or the Apple Silicon Macbook Pros (not the 13" ofc).
Hey, you missed something, before rendering you need to go in the color page and under the color tab/menu go to HDR10+ and slect analyse all shots, if you jump over this step metadata wont be embeded. I think that if you check out the media info of all your videos made in HDR 10 you will see that your MaxCLL and MaxFALL are 1000/400 whatever your max/min nit values you edit your fottage. Can you hook me up with some S5II V Log footage, something with nice highlights, maybe some night footsge with lights too?? Just for personal use, not posting it anywhere publicly, just wanna see what this Lumix can do.
Thanks. I did not saw any other TH-camrs mentioning it, but I will verify it. I have other videos of ProRes RAW at night. I have to see how to host it but just look for Lumix S5 footage. The S5II and S5II have the sensor recycled. Because of the new autofocus there is a little bit more noise.
@@BearTeam could be. But you should be able to convert your footage to HDR with a ColorSpaceTransform node (CST). The Studio version has to be payed only once. It's not a subscription.
I just watched your other video where you demonstrated the compression math at play. Brilliant stuff. So, could we potentially get better SDR colors by recording in HDR? And the doing the color equivalent of downscaling? I assume this is not the case , but you seem like the guy to have some nuanced insights on this matter. Your research on this stuff is truly eye opening.
Look in Davinci Resolve at the Color tab in the Chromacity tool (CIE). When using CSTs, they reduce the color space. In theory, if your colour space is clipping, like extreme reds, you could compress the colors to SDR so you have some slight shades. But the eye does not notice colour variants. That's why there is sub chroma sampling. But the main benefit of VLog is the dynamic range. Gerald Undone does some more scientific tests which could proof this.
Great video and ive got a few questions if you dont mind. 1. Will the HDR content still be suitable for Rec.709 screens once its uploaded in HDR? 2. Does it end up decreasing the compression on the other qualities. So will the 1080p HDR be less blocky in the shadows as opposed to the normal 1080p from a 4K upload? 3. For the colour grading, lets say ive already done all my colour grading with a different colour management, will i have to go in and change all the individual clips or is there a workflow to preserve the grade and just change some general settings to get it ready for a HDR upload? Remally appreciate your work. I know these are a lot of questions haha
1. To my knowledge, TH-cam will calculate the PQ HDR to Rec709 for viewers with normal monitor. You could also use HLG HDR which will work without issues for non-HDR monitors. I think PQ is better because it can display larger dynamic range (brightness differences) than HLG. You can test this HDR video by watching it on a normal screen. 2. This is related to the compression. I assume the compression rate will be relatively the same. But you will use the Main10 profile in Davinci Resolve, therefore uploading 10Bit color (2^10*3) instead of 8Bit (2^8*3) colors. So you will less likely have banding and more color and more dynamic range (brightness variation). In short, there will be more data in the video so better quality overall. HDR videos look more lifelike due to their bigger color space and bigger dynamic range. 3. First, many people recommend a HDR monitor if you do professional HDR grading. I only do white-balance and brightness corrections plus some highlight recovery of the clouds via the curves. The HDR Vivid gives you only an approximate preview. For these simple corrections it works mostly fine. HDR color grading is very difficult without a proper separate HDR monitor. But in general, you would do first a white-balance and brightness correction of the clip to achieve a neutral image. Brightness correction also differs from Rec709 where you can just use the full range. In HDR, dark parts should look dark and not consume the whole brightness range. To answer question 3. I assume you want to do specific color grading (change the color of things in your footage) of HDR footage? Yes, you have to do it in the correct color space. As I show in my tutorial, you grade in the timeline color space, Davinci White Gamut which is bigger than HDR. Then export it as shown in the tutorial to HDR. You could create groups for different clips and do the grade only once for the post part. But you would need to redo it since the color space is different from Rec709. In summary, if you want to get startet in HDR without a separate HDR monitor, make sure to get the proper whitebalance in camera, e.g. with a grey-card and later just adjust the brightness range (exposure). Preview the footage in HDR Vivid in Davinci Resolve.
@@e.adeloye for final footage, it only makes sense for HDR with Main10 in H265. Otherwise, use the TH-cam profile in DavinciResolve. Rec709 will be 8-Bit on TH-cam. If you pre-render, then you can use DNxHR HQX which has 10Bit or ProRes HQ something... You are welcome.
@@BearTeam yes, the Polarizer filter will reduce glare and bright reflections, making vegetation look more saturated and you can see more of the cloud details.
i say it again to maximize the HDR impact upgrade your TV or Display to one with higher Nits. its not the cameras that sets the limits its the displays.
The camera sets the limits due to its dynamic range, etc, what it is able to record. Yes, I agree with you, the videos will look more life-like on a good TV.
Amazing! Really needed this! I learn more from you then my filmschool😭
Thank you! I am currently working on some more videos with practical tips.
Very cool. You need an HDR monitor or HDR elevision to notice the benefits.
OMG...I just realized that the s5IIx with the LUT applied internally, exports the exact kind of file we have as result in resolve, but without this process...exactly the same, I did my own tests. The other videos that compares the LUTs applyed in camera and later in Resolve, are wrong. Because they are not using this settings in resolve. This video is amazing!
And I just made a preset with this settings to make more tests and for grading more V-Log material 👊😉
Thanks! Are you talking about Realtime-LUTs or LUTs in DaVinci Resolve to convert VLog to HDR? I made another video about them. White balance and curves is something you often need to adjust individually for each clip, even if you have a LUT.
A comparisson of both. That´s what I did, based in your settings. The results are amazingly accurate. I´ve not done a video, I´m not so brave yet to start my channel, he he he@@CameraRig
Thank you so much. I have been looking for this kind of video on how to make vlog in hdr on davinci for ever. Will definitely subscribe
Awesome content! Very good explained.
Thank you! 😁
Thanks for another GREAT video. I think I may need to consider switching from FCPX to Davinci so that I can follow your tutorial. Too bad the latter doesn't support 8K in the free version - the standard resolution I export my non-cropped/scaled 6K Open Gate 3:2 videos to.
Super Video, vielen Dank! Hast du Erfahrungswerte, bei wie viel Nits unterschiedliche Lichter bzws beleuchtete Elemente liegen sollten? Bei Haut hast du ja 100 empfohlen, gibt es eine Referenzliste oder sowas im Internet?
No, I did not check that. I believe there should be something out there.
Personally, I prefer an artistic choice in HDR. I make highlights at night bright, like 800-1000 to get this big contrast that your eyes experience when walking around at night. For peaks, I make sure not to have too many since some TVs will dim after time if they are maxed out in brightness.
I like to make the sky a little bit darker, like 600-800 to get more of the blue and to recover more of the gradients of the clouds. For skin it is important to look perfect.
If you nail the exposure with your camera, it might only needs some little changes in the curves. But Whitebalance correction in HDR is tedious.
@@CameraRig thank you for the feedback. I might start to grade based on waveforms and the actual content and then check it on my OLED for fine-tuning. Maybe after a while some experience sets in and makes it easier.
Great that you promote HDR deliver.
Allow me to share some learnings from working with my LUMIX S1H, Sony Rx100VII, iPhone 13 ProMax, and even the version 1 of the DJI Osmo Pocket:
1. Shooting in HLH may lose some dynamic range, but editing is far easier as you see the colors (skin tones, WB) even without any corrections.
2. Timeline space should always be the HDR wide gamut by Davinci, rather PQ. This provides maximum gamut, comparable to ACESS
3. Use an HDR monitor whenever possible, e.g. a modern Apple MacBook, to see grading results on the fly.
4. You can get HDR delivery even from footage shot in cinelike-D or Rec709. Of course, any log footage will shine a bit more
5. Don’t overdo the whites in HDR. That will make your footage look cheap
I enjoy your videos and just subscribed 😊
Thank you so much! Very good insights.
But in point 4, it is only partly correct. Here are my suggestions. While you could move rec709 to HDR, this will only work partially well for the brightness levels if you recorded in 10-Bit. The brightness curve is different in HDR. The color space in rec709 is smaller than in rec2020 so you will get banding which you need to reduce with the Demand filter.
It is possible to show rec709 footage in an HDR video, but it will be less vibrant and you might need to optimise the footage.
@@CameraRig Thanks for your reply. I fully agree with you that Rec709 is smaller than re2020 as gamut which may represent some challenges when grading and converting to HDR for delivery. This, to be honest, is something I try to avoid. But sometimes, you have shot in Rec709, and the timeline should be for HDR.
Regarding banding, I came across an exciting observation that nobody has talked about here in TH-cam yet: most of the banding does NOT come from the camera. It comes from delivering in H.264 which is by definition 8 Bit only - regardless of what expensive camera you have been using. Just deliver in H.265 and set the encoding profile in Davinci Resolve's delivery tab to Main 4:2:2 10 - and, 80% of the banding issues are gone -:)
"5. Don’t overdo the whites in HDR. That will make your footage look cheap" - absolutely agreed; see what mess the iPhone produces in HDR mode. It's practically blinding on a high-brightness HDR monitor like that of the iPhones or the Apple Silicon Macbook Pros (not the 13" ofc).
Thanks ! I was looking for this.
Hey, you missed something, before rendering you need to go in the color page and under the color tab/menu go to HDR10+ and slect analyse all shots, if you jump over this step metadata wont be embeded. I think that if you check out the media info of all your videos made in HDR 10 you will see that your MaxCLL and MaxFALL are 1000/400 whatever your max/min nit values you edit your fottage. Can you hook me up with some S5II V Log footage, something with nice highlights, maybe some night footsge with lights too?? Just for personal use, not posting it anywhere publicly, just wanna see what this Lumix can do.
Thanks. I did not saw any other TH-camrs mentioning it, but I will verify it.
I have other videos of ProRes RAW at night. I have to see how to host it but just look for Lumix S5 footage. The S5II and S5II have the sensor recycled. Because of the new autofocus there is a little bit more noise.
This HDR options are available only in Studio version? I just tried Resolve and I see that some HDR options are not available ;-/
@@BearTeam could be. But you should be able to convert your footage to HDR with a ColorSpaceTransform node (CST). The Studio version has to be payed only once. It's not a subscription.
I just watched your other video where you demonstrated the compression math at play. Brilliant stuff. So, could we potentially get better SDR colors by recording in HDR? And the doing the color equivalent of downscaling? I assume this is not the case , but you seem like the guy to have some nuanced insights on this matter. Your research on this stuff is truly eye opening.
Look in Davinci Resolve at the Color tab in the Chromacity tool (CIE). When using CSTs, they reduce the color space. In theory, if your colour space is clipping, like extreme reds, you could compress the colors to SDR so you have some slight shades. But the eye does not notice colour variants. That's why there is sub chroma sampling.
But the main benefit of VLog is the dynamic range. Gerald Undone does some more scientific tests which could proof this.
@@CameraRig Thank you.
Great video and ive got a few questions if you dont mind.
1. Will the HDR content still be suitable for Rec.709 screens once its uploaded in HDR?
2. Does it end up decreasing the compression on the other qualities. So will the 1080p HDR be less blocky in the shadows as opposed to the normal 1080p from a 4K upload?
3. For the colour grading, lets say ive already done all my colour grading with a different colour management, will i have to go in and change all the individual clips or is there a workflow to preserve the grade and just change some general settings to get it ready for a HDR upload?
Remally appreciate your work. I know these are a lot of questions haha
1. To my knowledge, TH-cam will calculate the PQ HDR to Rec709 for viewers with normal monitor. You could also use HLG HDR which will work without issues for non-HDR monitors. I think PQ is better because it can display larger dynamic range (brightness differences) than HLG. You can test this HDR video by watching it on a normal screen.
2. This is related to the compression. I assume the compression rate will be relatively the same. But you will use the Main10 profile in Davinci Resolve, therefore uploading 10Bit color (2^10*3) instead of 8Bit (2^8*3) colors. So you will less likely have banding and more color and more dynamic range (brightness variation). In short, there will be more data in the video so better quality overall. HDR videos look more lifelike due to their bigger color space and bigger dynamic range.
3. First, many people recommend a HDR monitor if you do professional HDR grading. I only do white-balance and brightness corrections plus some highlight recovery of the clouds via the curves. The HDR Vivid gives you only an approximate preview. For these simple corrections it works mostly fine. HDR color grading is very difficult without a proper separate HDR monitor.
But in general, you would do first a white-balance and brightness correction of the clip to achieve a neutral image. Brightness correction also differs from Rec709 where you can just use the full range. In HDR, dark parts should look dark and not consume the whole brightness range.
To answer question 3. I assume you want to do specific color grading (change the color of things in your footage) of HDR footage?
Yes, you have to do it in the correct color space. As I show in my tutorial, you grade in the timeline color space, Davinci White Gamut which is bigger than HDR. Then export it as shown in the tutorial to HDR.
You could create groups for different clips and do the grade only once for the post part. But you would need to redo it since the color space is different from Rec709.
In summary, if you want to get startet in HDR without a separate HDR monitor, make sure to get the proper whitebalance in camera, e.g. with a grey-card and later just adjust the brightness range (exposure). Preview the footage in HDR Vivid in Davinci Resolve.
@CameraRig thanks for the really quick response!
Do you know if its possible to force 10-bit colour on the export?
@@e.adeloye for final footage, it only makes sense for HDR with Main10 in H265. Otherwise, use the TH-cam profile in DavinciResolve. Rec709 will be 8-Bit on TH-cam. If you pre-render, then you can use DNxHR HQX which has 10Bit or ProRes HQ something... You are welcome.
If I record in Vlog and the convert to HDR, is it still has sense to use CIR-POL filter ?
@@BearTeam yes, the Polarizer filter will reduce glare and bright reflections, making vegetation look more saturated and you can see more of the cloud details.
Thank you for this!
your travel videos in HDR where are those?
The channel is called HDRTravel
@@CameraRig thanks, that's a great channel!
i say it again to maximize the HDR impact upgrade your TV or Display to one with higher Nits.
its not the cameras that sets the limits its the displays.
The camera sets the limits due to its dynamic range, etc, what it is able to record.
Yes, I agree with you, the videos will look more life-like on a good TV.