I already say it to you but really, it's incredible for a english-talking people to be so understandable for french-talking people. I'm a french-talking guy and without any closed caption, I understand ALL you say. So... It's the proof that you're a really excellent teacher ! Continue ! Excellent work !
It was when some guy in a making of to a small production said: "Even relatively cheap DSLRs have a dynamic range of 10, 11, or 12 stops. We've been filming with HDR-capable cameras for years - and not only the pros but also many amateurs", when I realised that it might be worth a shot putting some research time into HDR and how to grade it on my non-HDR monitor.
Exactly! As long as you have a decent sensor and use a log profile, you're almost certainly capturing enough information for HDR. It's just a matter of making use of it
The concept of HDR is old i discover HDR file from Paul Debevec in 2001 for lighting 3D environnement with HDRI but they introduce that concept in 1997 or 1998 with the short film fiat Lux and we only see that in SDR, recording video with this format is only start since 10 years with the concept of UHD Bluray and now with streaming service
Finally someone who doesn't stick their nose up at my frustrating learning curve. I had been working in resolve 17 studio which I specifically purchased to grade my d-log Drone footage to HDR. I got the grade looking really good using DaVinci color managed and DaVinci wide gamut. Then I went through a dozen or so renders with the delivery settings and the project settings altered one at a time so there was control in my experiment. No matter what I did, I did not get a file that was recognized by any appropriate device or program such as TH-cam as being HDR. I finally surrendered that desire and decided to just grade for Rec.709 But in this case, now instead of attempting to grade my d log footage from the Drone, I'm working on a project with HDR10+ footage from my Galaxy Note 20 Ultra and DJI OM 4. Now when I choose DaVinci yrgb color managed and DaVinci wide gamut, selecting bypass for now on output cs, my HDR10+ footage dropped in the timeline looks like it's raw footage. 😱 🤷 On one hand, I want to attempt your approach here with the aces workflow, and on the other hand it's confounding to me as these new DaVinci color managed and wide gamut settings ought to be doing essentially the same thing. You know this stuff moves so quickly that by the time I learn to use the DaVinci color science and color management, it may be outmoded, let alone going to a workaround that's a year old. Still, if it gets me what I want, I'm in. To ask just one question though, unless you want to give me any insights with regard to what else I've said; Aside from not displaying an accurate visual, is there some other reason having a $40,000 display is necessary.. as in like does the metadata encode into it that the color gradist is a liar and they were using a display that only goes up to 650 nits? If that's the case, then why don't the many color grading elitists just say that instead of rubbing it in that they have better monitors and budgets than I do? 😂 It's worth mentioning that their special skill will be as accessible to everyone as the cameras are now in just a short time. And while they will be on the leading edge of developing their talents, they won't be isolated in an elite class that makes them irreplaceable as they have been in the past. This happens with a lot of emerging technologies. For instance when the alphabet was initially created it was coveted and many attempted to hide its Wonder from others so that the elite few who did know it could maintain a level of power and control over others. I absolutely respect the color profession and being a professional musician who has put a lot of time and work and sweat and tears into developing my craft, I understand the frustration at some kid who doesn't know s*** jumping on the scene and getting accolades. In this case however, we are dealing with a structural change. And the best way to handle structural change is to get out in front of it and lead it. Resistance is futile. So again if I had just one question it is, Does my output file encode what monitor I was using in that file and then tell TH-cam or my phone to not play it as HDR because it was graded on a 650 nit display (which is marketed as HDR)? And thank you so much. I have ample respect for you for your willingness to think outside of the box and to talk to me like I'm an adult who wants to do his best as an independent multimedia creator. ✌️💚
Wow! Thanks for your comment, and I'll try to answer it as best as I can. First of all, yes you can achieve functionally the same result using Davinci Wide Gamut and Resolve Color Management. It's just two different ways of accomplishing the same task. See my episode on Color Management if you want more info on the difference between the two. The only real thing you would need to be aware of if using my workflow with RCM is that the LUT I attached in the download is made using an ACES transform. RCM Transforms and ACES Transforms are internally consistent with themselves but are not consistent with each other. The LUT I attached uses an ACES Rec.2020 ST2084 -> Rec.709 transform, so the SDR version on TH-cam should look identical to selecting Rec.709 as the output in Resolve. But it won't necessarily look identical to selecting Rec.709 in Resolve if you're using RCM. So you'll just need to generate a Rec.2020 ST2084 -> Rec.709 LUT using an RCM transform instead, which isn't too difficult. To answer your second question, there *is* a point to purchasing an extremely expensive HDR mastering display. Professional colorists working on projects with any significant budget will use what's called a "Reference" monitor, and plug it into a device like a Blackmagic Decklink instead of a normal GPU display output. The first and most obvious advantage to this approach is accuracy. Reference monitors are calibrated and quality controlled to a MUCH higher standard than ordinary monitors, so that when you select a display profile like Rec.709 on the reference monitor, it will reproduce colors in Rec.709 pretty much perfectly. Or at least, as perfectly as is possible with current technology. They are quite simply the most precise and accurate displays that exist. Additionally, using a Decklink instead of a GPU bypasses the Operating System and allows Resolve to control the monitor directly, further reducing sources of error. But the second advantage is perhaps more significant in the context of HDR. The vast majority of monitors, even ones which claim to be HDR capable, don't come anywhere even close to accurately reproducing an HDR standard like HDR10 or Dolby Vision. For example, my main display is *technically* HDR capable, but I would never use it in HDR mode for anything where accuracy was important. It has a maximum brightness of 350 nits (far, far below the 1,000-10,000 nit maximum of HDR), no local dimming to improve contrast, and no coverage of color gamuts beyond Rec.709. While a typical monitor might accept an HDR signal, it has to *heavily* distort that signal in order to map it down to work on its decidedly SDR hardware. You won't get anywhere close to an accurate reproduction of the true brightness and contrast of the scene. While most displays are *good enough* for reasonable SDR color grading, the accuracy problem is magnified a hundredfold if you try to use them in HDR mode. A reference monitor, however, is able to actually display an HDR signal *in HDR* with accurate contrast, brightness, and gamut. While there aren't any displays that can match the *full* HDR display volume of Rec.2020 and 10,000 nits, a typical reference monitor will offer full coverage of the DCI-P3 space with 2,000-3,000 nits of peak brightness and local dimming. So if you feed an HDR image to a properly configured reference monitor, you're actually getting a mostly accurate rendering of what the scene looks like in HDR. Maybe someday we'll see this capability trickle down to affordable displays, but as things stand that's a long way off. To answer your final question about encoding and metadata: No, Resolve does not bake in the information about your monitor when it encodes an image. However, by default it will not include HDR metadata even if you set your output transform to an HDR format. See, even if you render an image in Rec.2020 ST2084, a platform like TH-cam doesn't have any way to know that the image is encoded with HDR unless you tell it so. TH-cam will just assume it's Rec.709 like everything else, and display it as is. When you display an HDR image on an SDR display without tone mapping or processing, the results will look very flat, which I imagine is what you're seeing on TH-cam The solution is to attach metadata to the video file which will tell the platform that the video is encoded with HDR and needs to be processed accordingly. In the video I go over how to accomplish this using a simple script file which I have linked in the description. So you need to set the output transform to HDR, render the file, and then put it through the script to attach metadata before uploading. Hope that answers all your questions
I wish you were my neighbor. If buy you a coffee or a ginger ale.. And we could nerd out talking about technology. Thank you for this thorough explanation. I'll be checking out more of your videos today. Have a great one! ✌️💚
Using $30.000 monitors is not just a bragging right for some, but a requirement. If you want to make a film for Netflix, they have very specific requirements to camera gear, backup during filming, monitors, grading software, calibration of monitors, and so on. Not only that, but also how it's all set up. They do however have lesser requirements for documentary making. But if you hear a filmmaker say he needs a $30.000 monitor for "regular" filmmaking or TH-cam videos, that's not the case. A $5.000 monitor will do the job, as long as it can at least output 5-600 nits. Many of the first HDR movies were graded on monitors like that, simply because there were no monitors on the market (and TVs for that matter), that could go that high. You can buy a good $1.500 Asus monitor, that can hit around 1000 nits HDR, and they are more than good enough, for the average small filmmaker. And for half of that, a good 600 nits monitor. All the above, will hit a delta error below 2, calibrated. And that is said to be the limit of human perception. The $30.000 can go as low as a delta error of 0,3, if I remember correctly.
Is this method still up to date for the latest version of Davinci Resolve? Is this will also work for Instagram Reels? Awesome video btw, I really trust your technical abilities 👌
Great video homey. Do you know if there are any real advantages to producing HDR content on TH-cam, considering 90+% of people don't have a true HDR compatible display? And as far as using the method in this video and uploaded to TH-cam and everything, will it display SDR for those without HDR displays as well as display HDR for this with? (that 90% is probably considerably higher now since the release of the iPhone 12 which displays true 4k HDR, and since over 70% of my content specifically is view on a mobile device, more and more viewers will be benefitting from HDR content) Thanks for the video again.
To answer your first question, it really depends on the project. Some things might benefit from it, but I'd say for the majority of content it doesn't really matter one way or another. And yes, with this workflow it will display as SDR for everyone who isn't using an HDR display
I’m gonna add these videos of yours to my favourites, I feel like I’m your target demographic - someone that values accurate SDR for work but wants to experiment with adding effects to amateur HDR (footage captured using the Series X’s built in DVR) for my amateur TH-cam Channel. Seeing as this video is two years old now, I wonder if you have any up-to-date recommendations for monitors? I intend on getting an M1 Mac Mini as I’m mainly a FCP user, and frankly just want an iMac screen (preferably with not terrible entry-level HDR) that I can plug my Series X into for 4K HDR 60Hz gaming (will gladly sacrifice refresh rate). I want to work and play on the same screen, makes it much easier to move out and get my own place. Lately I’ve been eyeing up the Tempest GP27U, but it would be nice to either go for something more that has its price really justified (say a Samsung Neo G7 or ASUS PA329C) or something cheaper that I’ll be just fine with (such as a LG 32UN88A-W or a Dell UltraSharp U2723QE).
That would also work! I have a future video planned about color management in general, but the short version is that both ACES and Davinci color management do fundamentally the same thing. Either works, it's just down to personal preference
@@VideoTechExplained If using Davinci Wide Gamut colorspace instead of ACES how would you export the LUT with the SDR tone mapping to inject to the TH-cam upload?
@@TubeSilva Just open up a fresh clip and put a "Color Space Transform" effect on the first node. Set the input as Rec.2020 ST2084, the output as Rec.709, then export that grade as a 35-point CUBE LUT
Hi, Great explanation! My question is, how to use the HDR mode on a node ? Do I need it during the grading and does it effect the final exported movie? Thank you :)
Just two questions. can we use this lut for exporting other HDR formats like HDR1000, HLG and Dolby Vision, or is only for standard HDR? will TH-cam understand these formats if apply this lut in a video? can you also suggest a good tutorial for beginners in HDR Grading? i just made my first clip but i m lost in space. i need a tut from start to finish. from basic HDR grading to advanced. how to use the new scopes that have 10000nit upper limit instead of 1000nits etc.. thanks for this Tut. Keep up the good work!
At the moment TH-cam only supported HDR10, which is what this tutorial is designed around. However, you can adapt this workflow for HLG or Dolby Vision. The LUT is only relevant for upload to TH-cam since other delivery formats have their own methods of tone mapping HDR down to SDR. See my video on HDR display formats for more information. As for HDR grading, I don't have any specific tutorials that I refer to. I'd say the best way to learn is just to practice and see what works well. I also will sometimes download movie clips which were uploaded in HDR and refer to those as examples of professional HDR grades
@@VideoTechExplained thank you very much! i have an LG Oled tv and when a see some videos through youtube app i get a "HDR HLG" in my tv. i think that youtube now supports HLG also. if finally YT supports HLG i hope the HDR Metajector creator produce a new Lut for this format.
@@DarKHumOuR3 Ah, right! I forgot about that. In that case, you're probably best off reading TH-cam's documentation and writing your own script to deal with the metadata injection. The Metajector tool is just a handy script to automate the creation of metadata, but you can also do it manually using the other tools in the download
@@VideoTechExplained i did it! based on this info by Mysterybox article that said "If you want to use HLG instead of PQ, switch the value of --colour-transfer-characteristics to 0:18, which will flag for ARIB STD-B67" i edited the Metajector tool with Notepad++, changed the value from 0:16 to 0:18 and.. voila! now YT recognizes my footage as HLG! Thanks for all!
Hey absolutely love your video but had a quick question would love an answer to. Basically when grading in ACES Rec 709 in davinci then exporting using the Rec 2020 ST084 (1000nits) + DNXR the image comes out much darker. I am grading using BRAW and was just wondering why it looks darker in the render.
@@VideoTechExplained This is straight after the export, viewing the HDR file in VLC on my SDR monitor, it always seems darker than when previewing the SDR ACES Rec 709 timeline in Davinci
@@tomfodenfilm The HDR to SDR conversion performed by VLC is different than the one performed by Resolve. In my experience, Resolve's transform tends to make things look brighter in SDR than they do in HDR. So I've taken to using a modified version which also reduces the brightness by half a stop. I get better results that way
I would like to use this workflow, but for DaVinci Wide Gamut. How does one acquire the .cube file necessary for the last step, since I don't want to use ACES?
Hello, great video. I've got a question though, can I make a HDR video from any log footage I got? I mean it's got a wide dynamic range, right? So I have a choice, either I make an SDR or HDR video. Or it must be shot on specific HDR camera?
Any video can theoretically be converted and re-encoded in an HDR container. It's just a question of how well it will take advantage of the HDR format. Shooting log or RAW goes a long way since those formats can typically be converted back to linear light automatically (or are linear already) which makes them much easier to work with. Similarly, 10-bit and wide color gamut capture aren't technically required but make a big difference
Yes, though doing it this way does not allow you to attach the ACES conversion LUT, so the SDR conversion on TH-cam will look different than what you see in the preview.
Im new to all this, your vid shows that you can use raw footage for post HDR video production but all raw 10 bit footage is ok? What's a log type of format?
Thank you for making this. I might just be able to start using HDR finally. What would be the appropriate input transform for a linear exr sequence or a cineon log dpx sequence?
Not sure, I would look over on the ACES forum (community.acescentral.com/). For Blender at least, I render everything to EXR with an ACEScg gamut (see: www.toodee.de/?page_id=1720#) and then use the ACEScg input transform. EXR's are linear so the gamma shouldn't need any input transform, but you'll want to make sure the color space is being handled properly, hence rendering with ACEScg primaries
What about the scopes? What level do we need to set for maximum output ? When you color grade them it's different from the final output, when you make the change from hdr to sdr...
So when you have the Rec.709 tone mapping enabled, the scopes will reflect what you're seeing on your monitor and what people will see on the TH-cam SDR version. It maps the HDR 0-10,000 range down to 0-100 in a logarithmic fashion. I don't have the exact numbers in front of me, but it's something like 100 nits HDR corresponds to 85 nits SDR, 1000 nits HDR correspond to 98 nits SDR, 10,000 nits HDR corresponds to 100 nits SDR. Those aren't the exact numbers, but it's something like that. My advice would be to just enable the Rec.709 tone mapping and then grade as you normally would. People watching in SDR on TH-cam will see the same thing you're seeing on the scopes, and people watching in HDR will see values above about 85% as being up in the HDR range. Hope that makes sense
Thanks a lot. That was excellent, truly. Can you tell me what I should use as ACES input transform for my footage shot on GH5S in HLG? And if I'm not uploading to TH-cam, but only intending to view it on a HDR TV, do I still need the Metajector stuff? Thanks and cheers, Greg.
Try Rec.2100 HLG. I don't have a GH5S so I'd recommend testing this yourself before relying on it for any projects. If that doesn't work, try shooting in V-log since that does have its own dedicated input transform As for viewing it on an HDR TV, I am not entirely sure. Different TVs will probably have different compatibility requirements when it comes to playing back files directly. I'd recommend using TH-cam as an intermediate if it's an option, since the process for uploading HDR there is well documented. At the end of the day, the only way to be sure is to test it and see what happens. That's how I developed this workflow, through trial and error
Hello my friend, I made a 4k hdr video (60fps) according to your tutorial, but the produced video is too big, 6 seconds video consumes 1g of space. Is there any way to make the video size smaller? My camera is a7s3.
I believe in this video I recommended exporting to the DNxHR codec. Since this video was made I've switched to rendering to H.265, which has quality that's good enough for TH-cam but with a much smaller file size. In Resolve, under "Quicktime" use H.265 with the NVIDIA encoder and set the profile to "main10." If you don't have this option, then you can try rendering to DNxHR and then transcoding that file to H.265 10-bit with another application like HandBrake or ffmpeg
@@VideoTechExplained Thank you. I have converted the video to h265, selected main10, NVIDIA, Quicktime, and then used the injector to inject the video with hdr information and upload the video to youtube, but when I watch the video on youtube, the resolution option does not display hdr words. May I ask how to make youtube display the words hdr?
Hi VTE, I have a question regarding export settings, under Video -> Advanced settings -> Data Levels: There are 3 options - Auto, Video or Full The default is on Auto but should this be switched to Full for exporting HDR content? Also, every TH-camr out there seem to suggest VBR high quality with the default Lookahead of 16 frames as the ideal 4k export setting but most of them are uploading 4k24p. For someone like me who wants to upload 4k60p videos with constant motion, would CBR high quality produce better quality than VBR (both at max 200k bitrate)? and should the number of Lookahead frames be adjusted for because of 60fps?
I'm not sure about the data levels. My advice would be to just leave it at auto unless you have a specific reason to change it. If I had to guess I think HDR should be full though. As for the export bitrate, VBR usually gives better results because it can allocate bits more efficiently, increasing and decreasing the data rate depending on the complexity of the frame. CBR is mainly used for stuff like live streaming where the bitrate needs to be consistent. For most purposes though, VBR is better. I just use the default settings and I've never had a problem thus far
Hello, I can't download the "HDR MetaJECTOR Tool with SDR LUT" from Drive. 😞
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As a mac user, this has some faults, would love to help figure it out, but iMacs cover the P3 space, and using the mac built in color sync works for SDR footage, but with the ACES conversion everything looks totally bonkers.
Hmm, I don't have a Mac to play around with and test it. Could you send me some images of what you're seeing? My test methodology would be to generate a test pattern in Rec.709, bring it into your project with a Rec.709 input transform, then try different output transforms until it looks the same. It's tricky if your monitor isn't calibrated for a standard format like sRGB or Rec.709
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@@VideoTechExplained This is basically the issue: tinyurl.com/y4dao8aj The color adjustment function does work for normal grading. I am uploading my first HDR test now and will screen it on my iPhone / HDR TV to see if it maps sort of accurate.
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@@VideoTechExplained Also if I do a print screen it doesnt work because the P3 color management is happening in the software for the panel, so it will look properly for you. It is a mess.
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@@VideoTechExplained Trying to figuring out the equivalent ProRes type for the export.
@ Is there any way to disable Apple's color management completely? Then you could just choose P3 as your output transform. On my system I had to disable all of Windows' color management except for the DisplayCAL profile I generated with my calibration tool
What if you have the studio version of Resolve. I'm assuming for this version I don't need to use the meta injector tool. So my question is how do you inject the metadate in the paid version of Resolve?
If you have the studio version, you can automatically attach HDR metadata via the deliver tab, yes. Make sure to check "HDR Mastering is for 1000 nits" and "Enable HDR10+" in the color management tab, then check "Export HDR10 metadata" and "Embed HDR10 metadata" in the deliver tab. However, one important thing to note is that doing it this way does not allow you to attach a custom HDR to SDR conversion LUT. TH-cam will perform the downconversion automatically using their own system, but the SDR version on TH-cam will look different from the version you monitored earlier. In order to make the SDR version on TH-cam match the one in Resolve, I still recommend using the metajector tool as it allows you to attach the appropriate LUT
There is no dedicated input transform for the GoPro as far as I'm aware. I don't have a Hero 11, but when I do have to work with GoPro footage I'll use the Rec.709 input transform and then use the "Highlight" wheel to roll off the highlights so they don't get too bright in HDR. While the GoPro 11 does have 10-bit support now, its actual dynamic range is still relatively poor. While you can theoretically bring GoPro footage into an HDR project and make it look normal, you likely won't be getting many of the benefits you'd expect from HDR. Personally, if I were shooting a video primarily on GoPros then I'd just deliver in SDR. I only use GoPro footage in HDR when the video has other footage which would actually benefit from HDR delivery.
Hi, I have some questions: 1. Under Resolve's project settings should you not select HDR mastering is for "1000" nits? What about "Enable HDR10+"? 2. I'm getting 40GB file size for a 3 minute video when exporting with DNxHR and I typically upload videos to TH-cam that are between 40-60 minutes long. Can I use H265 instead of DNxHR to keep under the TH-cam file size limit? Cheers for the video
1. For this particular workflow, that is not necessary. According to Resolve's manual, all that setting does is make sure appropriate metadata is being sent to the HDR display if you have one connected. 2. Yes, that also works. Just make sure you select "Main10" under the profile or else the output will be 8-bit.
@@VideoTechExplained Got it, thank you! Is there a difference between doing an ACES transform in the project settings vs. doing it node-based using the ACES plugin? The plugin doesn't have the option for ACEScc or ACEcct, only ACES version number. Also, in Gerald Undone's "How to Correct Log" vidoe, he demonstrates that unlike a color space transform, an ACES transform (node-based) is "destructive" in that any highlights clipped during the transform is unrecoverable later in the workflow. This means if the footage filmed ETTR we would need to pull down the exposure before applying the ACES transform. Does this apply to this particular HDR workflow? i.e. if I'm doing an ACES transform in project settings color management, would my highlights be clipped before I've made my exposure correction?
@@filmingjapan4k I actually didn't know that ACES was destructive when you apply it to a node! The more you know, I guess. As far as the transform itself, there is no difference between applying the ACES transform in the color management settings versus doing it in nodes. I prefer using the color management tab since it makes the process more centralized. IE, if you want to change the output format you only have to do it in one place instead of going through and changing all your nodes. If you do want to use nodes, you'll want to use two. For the first one set the input to whatever your source footage is and the output to ACEScct, then apply your grade in the nodes after that, then add a node at the end to convert from ACEScct to either Rec.709 or Rec.2020. Regarding clipping, this isn't really an issue as long as you apply the transforms at the start and end of the chain, not in the middle. In Gerald's video he applies a heavy exposure correction *Before* the input transform which causes the image to clip prematurely. If you apply the input transform first then nothing will clip beyond what was clipping in the original file
@@VideoTechExplained Thank you! So you're saying these two workflows are the same am I right? 1. apply transform from slog3 to rec709/rec2020 (ACEScct) in the color management tab -> grade -> export 2. 1st node transform from slog3 to ACEScct -> 2nd node grade -> 3rd node transform ACEScct to rec709/rec2020 -> export
@@filmingjapan4k Yes, those should yield more or less identical results. There is a bit of nuance to it since when you have it set up in color management will automatically perform certain transforms for you (like for example automatically setting the correct transform to output a DCP) but as far as transforms go they should be the same
Hi, Thank you for this video :) I'm following your tutorial and got a few issues. I'm using Resolve 17 version and my camera is Bmpcc 6k, every file is BRAWs. 7:47 When I right click my braw footage on Resolve 17, There is no "ACES input transform" option, only seeing "LUT". And inside "LUT", There are so many options for Blackmagic design and only 2 two Blackmagic pocket 6k film to video/extended video. Footage looks so weird with "Blackmagic pocket 6k film to video". It doesn't look natural like your video 8:53. Thank you:)
Hi. Since BRAW is a RAW format, it doesn't have any transform baked-in. Resolve is smart enough to automatically transform any RAW footage into ACES when you drop it into an ACES timeline. So, you shouldn't need to apply an input transform for a RAW clip, only non-raw formats like ProRes or H264. To double check that Resolve is transforming the RAW clip correctly, go into the "Camera RAW" tab, change Decode Using to "Clip" and the Color Space and Gamma options should be greyed out, because Resolve is automatically applying ACES for both settings.
Subed here. Thanks for this. Now I have a question. Can you mix Rec.02100 HGL content with Rec. 709 content on one video and get a complete HDR video? Also is is possible to use templates of Motion Array into these projects? I tried that but the colors are all off... It would be great to know if it is possible. Thank you.
@@motionreport9747 I would be cautious with that since a Samsung phone is definitely not capturing using a RED gamma. It might be that the correct transform gives you an image which is accurate but doesn't look as good to your eye.
@@VideoTechExplained Yes, when I apply it, it turns red into pink, so I had to adjust it manually. Anyways HDR is just too hard to edit on an SDR monitor and the file size is enormous, no wonder it mostly used by big production movies. Thanks for the response and for this video!
08:34 They don't just deliver one format in HDR. I have a top-of-the-line Sony LED TV, with Dolby Vision, HDR10, & HLG. But there are some HDR videos, that don't display in HDR format, on my TV. So either the video is output in HDR10 Plus, or there's something wrong with the metadata. But I don't see other people complaining in the comment sections, in those videos. Unfortunately, my TV cannot tell what HDR format is currently being played, like some LG TVs can.
@@mrshaheedmalik It's some of the TH-cam channels, that advertise with 4K HDR video. Some even claim, that it's Dolby Vision or HDR10, or HDR10 Plus, but to my knowledge, TH-cam only supports HLG.
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If you go the metadata route, is there still a workaround to do the same?
I'm not 100% sure what you mean by this. The exact delivery method will vary depending on which platform you're uploading to. The method I described works for TH-cam, but I can't comment on any other platforms.
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@@VideoTechExplained well TH-cam accept several flavours of HDR , the other require metadata to deliver.
@ The tutorial in this video delivers PQ, which would be my recommendation for TH-cam. However, if you want to go the HLG route I believe you can attach the appropriate metadata using mkvmerge github.com/youtubehdr/hdr_metadata
Bro i have gopro 7 black. It's output videos are very Bad But gopro channel's Videos are amazing in 4k. I am very sad with my gopro 4k footages When uploaded in youtube How can i achieve High quality and super colour footage How i grade like pro ?
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Shame there is no option for the metajector for mac...
The metajector is just a script to simplify the use of a tool called mkvmerge. I believe there is an equivalent version of it available for mac, though you will need to write your own script in order to use it.
You can, but most HDR TVs are very, very inaccurate compared to monitors. So you shouldn't use a TV for grading for the same reason that you should calibrate your monitor
??????????? Color grading without knowing a value of color by the numbers? For example values in lab or rgb or cymk???Are we taking simultaneous contrast or chromatic adaptation into account? This is asinine because I come from a photoshop background
I already say it to you but really, it's incredible for a english-talking people to be so understandable for french-talking people.
I'm a french-talking guy and without any closed caption, I understand ALL you say. So... It's the proof that you're a really excellent teacher !
Continue ! Excellent work !
For spanish-talking people too.
It was when some guy in a making of to a small production said: "Even relatively cheap DSLRs have a dynamic range of 10, 11, or 12 stops. We've been filming with HDR-capable cameras for years - and not only the pros but also many amateurs", when I realised that it might be worth a shot putting some research time into HDR and how to grade it on my non-HDR monitor.
Exactly! As long as you have a decent sensor and use a log profile, you're almost certainly capturing enough information for HDR. It's just a matter of making use of it
The concept of HDR is old i discover HDR file from Paul Debevec in 2001 for lighting 3D environnement with HDRI but they introduce that concept in 1997 or 1998 with the short film fiat Lux and we only see that in SDR, recording video with this format is only start since 10 years with the concept of UHD Bluray and now with streaming service
Finally someone who doesn't stick their nose up at my frustrating learning curve.
I had been working in resolve 17 studio which I specifically purchased to grade my d-log Drone footage to HDR.
I got the grade looking really good using DaVinci color managed and DaVinci wide gamut.
Then I went through a dozen or so renders with the delivery settings and the project settings altered one at a time so there was control in my experiment.
No matter what I did, I did not get a file that was recognized by any appropriate device or program such as TH-cam as being HDR.
I finally surrendered that desire and decided to just grade for Rec.709
But in this case, now instead of attempting to grade my d log footage from the Drone, I'm working on a project with HDR10+ footage from my Galaxy Note 20 Ultra and DJI OM 4.
Now when I choose DaVinci yrgb color managed and DaVinci wide gamut, selecting bypass for now on output cs, my HDR10+ footage dropped in the timeline looks like it's raw footage. 😱
🤷
On one hand, I want to attempt your approach here with the aces workflow, and on the other hand it's confounding to me as these new DaVinci color managed and wide gamut settings ought to be doing essentially the same thing.
You know this stuff moves so quickly that by the time I learn to use the DaVinci color science and color management, it may be outmoded, let alone going to a workaround that's a year old.
Still, if it gets me what I want, I'm in.
To ask just one question though, unless you want to give me any insights with regard to what else I've said;
Aside from not displaying an accurate visual, is there some other reason having a $40,000 display is necessary.. as in like does the metadata encode into it that the color gradist is a liar and they were using a display that only goes up to 650 nits?
If that's the case, then why don't the many color grading elitists just say that instead of rubbing it in that they have better monitors and budgets than I do? 😂
It's worth mentioning that their special skill will be as accessible to everyone as the cameras are now in just a short time.
And while they will be on the leading edge of developing their talents, they won't be isolated in an elite class that makes them irreplaceable as they have been in the past.
This happens with a lot of emerging technologies. For instance when the alphabet was initially created it was coveted and many attempted to hide its Wonder from others so that the elite few who did know it could maintain a level of power and control over others.
I absolutely respect the color profession and being a professional musician who has put a lot of time and work and sweat and tears into developing my craft, I understand the frustration at some kid who doesn't know s*** jumping on the scene and getting accolades.
In this case however, we are dealing with a structural change. And the best way to handle structural change is to get out in front of it and lead it. Resistance is futile.
So again if I had just one question it is,
Does my output file encode what monitor I was using in that file and then tell TH-cam or my phone to not play it as HDR because it was graded on a 650 nit display (which is marketed as HDR)?
And thank you so much.
I have ample respect for you for your willingness to think outside of the box and to talk to me like I'm an adult who wants to do his best as an independent multimedia creator.
✌️💚
Wow! Thanks for your comment, and I'll try to answer it as best as I can.
First of all, yes you can achieve functionally the same result using Davinci Wide Gamut and Resolve Color Management. It's just two different ways of accomplishing the same task. See my episode on Color Management if you want more info on the difference between the two. The only real thing you would need to be aware of if using my workflow with RCM is that the LUT I attached in the download is made using an ACES transform.
RCM Transforms and ACES Transforms are internally consistent with themselves but are not consistent with each other. The LUT I attached uses an ACES Rec.2020 ST2084 -> Rec.709 transform, so the SDR version on TH-cam should look identical to selecting Rec.709 as the output in Resolve. But it won't necessarily look identical to selecting Rec.709 in Resolve if you're using RCM. So you'll just need to generate a Rec.2020 ST2084 -> Rec.709 LUT using an RCM transform instead, which isn't too difficult.
To answer your second question, there *is* a point to purchasing an extremely expensive HDR mastering display. Professional colorists working on projects with any significant budget will use what's called a "Reference" monitor, and plug it into a device like a Blackmagic Decklink instead of a normal GPU display output.
The first and most obvious advantage to this approach is accuracy. Reference monitors are calibrated and quality controlled to a MUCH higher standard than ordinary monitors, so that when you select a display profile like Rec.709 on the reference monitor, it will reproduce colors in Rec.709 pretty much perfectly. Or at least, as perfectly as is possible with current technology. They are quite simply the most precise and accurate displays that exist. Additionally, using a Decklink instead of a GPU bypasses the Operating System and allows Resolve to control the monitor directly, further reducing sources of error.
But the second advantage is perhaps more significant in the context of HDR. The vast majority of monitors, even ones which claim to be HDR capable, don't come anywhere even close to accurately reproducing an HDR standard like HDR10 or Dolby Vision. For example, my main display is *technically* HDR capable, but I would never use it in HDR mode for anything where accuracy was important. It has a maximum brightness of 350 nits (far, far below the 1,000-10,000 nit maximum of HDR), no local dimming to improve contrast, and no coverage of color gamuts beyond Rec.709.
While a typical monitor might accept an HDR signal, it has to *heavily* distort that signal in order to map it down to work on its decidedly SDR hardware. You won't get anywhere close to an accurate reproduction of the true brightness and contrast of the scene. While most displays are *good enough* for reasonable SDR color grading, the accuracy problem is magnified a hundredfold if you try to use them in HDR mode.
A reference monitor, however, is able to actually display an HDR signal *in HDR* with accurate contrast, brightness, and gamut. While there aren't any displays that can match the *full* HDR display volume of Rec.2020 and 10,000 nits, a typical reference monitor will offer full coverage of the DCI-P3 space with 2,000-3,000 nits of peak brightness and local dimming. So if you feed an HDR image to a properly configured reference monitor, you're actually getting a mostly accurate rendering of what the scene looks like in HDR. Maybe someday we'll see this capability trickle down to affordable displays, but as things stand that's a long way off.
To answer your final question about encoding and metadata: No, Resolve does not bake in the information about your monitor when it encodes an image. However, by default it will not include HDR metadata even if you set your output transform to an HDR format.
See, even if you render an image in Rec.2020 ST2084, a platform like TH-cam doesn't have any way to know that the image is encoded with HDR unless you tell it so. TH-cam will just assume it's Rec.709 like everything else, and display it as is. When you display an HDR image on an SDR display without tone mapping or processing, the results will look very flat, which I imagine is what you're seeing on TH-cam
The solution is to attach metadata to the video file which will tell the platform that the video is encoded with HDR and needs to be processed accordingly. In the video I go over how to accomplish this using a simple script file which I have linked in the description. So you need to set the output transform to HDR, render the file, and then put it through the script to attach metadata before uploading.
Hope that answers all your questions
I wish you were my neighbor.
If buy you a coffee or a ginger ale..
And we could nerd out talking about technology.
Thank you for this thorough explanation.
I'll be checking out more of your videos today.
Have a great one!
✌️💚
Using $30.000 monitors is not just a bragging right for some, but a requirement. If you want to make a film for Netflix, they have very specific requirements to camera gear, backup during filming, monitors, grading software, calibration of monitors, and so on. Not only that, but also how it's all set up. They do however have lesser requirements for documentary making.
But if you hear a filmmaker say he needs a $30.000 monitor for "regular" filmmaking or TH-cam videos, that's not the case. A $5.000 monitor will do the job, as long as it can at least output 5-600 nits. Many of the first HDR movies were graded on monitors like that, simply because there were no monitors on the market (and TVs for that matter), that could go that high.
You can buy a good $1.500 Asus monitor, that can hit around 1000 nits HDR, and they are more than good enough, for the average small filmmaker. And for half of that, a good 600 nits monitor. All the above, will hit a delta error below 2, calibrated. And that is said to be the limit of human perception. The $30.000 can go as low as a delta error of 0,3, if I remember correctly.
7:46 it seems this menu option is no longer available? It seems we have a "LUT" menu option there now. Should we choose LUT > ACES > LMT ACES v0.1.1?
Good video!
Can you also show how to also export something with tone mapping from HDR/10 bit source to SDR/8 bit
It's mostly the same! Just choose either Rec.2100 HLG or Rec.2020 ST2084 as your Input transform, and Rec.709 as your Output transform
Love your thorough explanations.
Is this method still up to date for the latest version of Davinci Resolve?
Is this will also work for Instagram Reels?
Awesome video btw, I really trust your technical abilities 👌
This is great for those that want to experiment with HDR without spending money on new hardware. Thanks for the upload.
Incredible video ... does this apply for iPhone HDR Dolby Vision videos (not ProRes LOG) ?
what software would i need to get to use the metajector on Mac
Awesome video, now I finaly have an understanding of HDR :D
Great video homey. Do you know if there are any real advantages to producing HDR content on TH-cam, considering 90+% of people don't have a true HDR compatible display? And as far as using the method in this video and uploaded to TH-cam and everything, will it display SDR for those without HDR displays as well as display HDR for this with? (that 90% is probably considerably higher now since the release of the iPhone 12 which displays true 4k HDR, and since over 70% of my content specifically is view on a mobile device, more and more viewers will be benefitting from HDR content) Thanks for the video again.
To answer your first question, it really depends on the project. Some things might benefit from it, but I'd say for the majority of content it doesn't really matter one way or another. And yes, with this workflow it will display as SDR for everyone who isn't using an HDR display
@@VideoTechExplained oh cool man thanks for the reply, great video.
I’m gonna add these videos of yours to my favourites, I feel like I’m your target demographic - someone that values accurate SDR for work but wants to experiment with adding effects to amateur HDR (footage captured using the Series X’s built in DVR) for my amateur TH-cam Channel. Seeing as this video is two years old now, I wonder if you have any up-to-date recommendations for monitors?
I intend on getting an M1 Mac Mini as I’m mainly a FCP user, and frankly just want an iMac screen (preferably with not terrible entry-level HDR) that I can plug my Series X into for 4K HDR 60Hz gaming (will gladly sacrifice refresh rate). I want to work and play on the same screen, makes it much easier to move out and get my own place.
Lately I’ve been eyeing up the Tempest GP27U, but it would be nice to either go for something more that has its price really justified (say a Samsung Neo G7 or ASUS PA329C) or something cheaper that I’ll be just fine with (such as a LG 32UN88A-W or a Dell UltraSharp U2723QE).
Is this still working for TH-cam? I tried a 10 sec clip from my Panasonic S5 in Vlog following this tutorial and YT doesn't seem to detect HDR.
Very cool! Seems like it could be done in the new DR 17 Resolve Wide Gamut. Time for a new video?
That would also work! I have a future video planned about color management in general, but the short version is that both ACES and Davinci color management do fundamentally the same thing. Either works, it's just down to personal preference
@@VideoTechExplained Look forward to it! Any time soon?
@@VideoTechExplained If using Davinci Wide Gamut colorspace instead of ACES how would you export the LUT with the SDR tone mapping to inject to the TH-cam upload?
@@TubeSilva Just open up a fresh clip and put a "Color Space Transform" effect on the first node. Set the input as Rec.2020 ST2084, the output as Rec.709, then export that grade as a 35-point CUBE LUT
Hi, Great explanation! My question is, how to use the HDR mode on a node ? Do I need it during the grading and does it effect the final exported movie? Thank you :)
is there a Mac version of metajector or a way to do it on Mac????
On Mac here too!! Would love to have a solution
Just two questions. can we use this lut for exporting other HDR formats like HDR1000, HLG and Dolby Vision, or is only for standard HDR? will TH-cam understand these formats if apply this lut in a video?
can you also suggest a good tutorial for beginners in HDR Grading? i just made my first clip but i m lost in space. i need a tut from start to finish. from basic HDR grading to advanced. how to use the new scopes that have 10000nit upper limit instead of 1000nits etc..
thanks for this Tut. Keep up the good work!
At the moment TH-cam only supported HDR10, which is what this tutorial is designed around. However, you can adapt this workflow for HLG or Dolby Vision. The LUT is only relevant for upload to TH-cam since other delivery formats have their own methods of tone mapping HDR down to SDR. See my video on HDR display formats for more information.
As for HDR grading, I don't have any specific tutorials that I refer to. I'd say the best way to learn is just to practice and see what works well. I also will sometimes download movie clips which were uploaded in HDR and refer to those as examples of professional HDR grades
@@VideoTechExplained thank you very much! i have an LG Oled tv and when a see some videos through youtube app i get a "HDR HLG" in my tv. i think that youtube now supports HLG also.
if finally YT supports HLG i hope the HDR Metajector creator produce a new Lut for this format.
i just chek it. YT now supports Rec. 2020 with PQ or HLG
@@DarKHumOuR3 Ah, right! I forgot about that. In that case, you're probably best off reading TH-cam's documentation and writing your own script to deal with the metadata injection. The Metajector tool is just a handy script to automate the creation of metadata, but you can also do it manually using the other tools in the download
@@VideoTechExplained i did it! based on this info by Mysterybox article that said "If you want to use HLG instead of PQ, switch the value of --colour-transfer-characteristics to 0:18, which will flag for ARIB STD-B67" i edited the Metajector tool with Notepad++, changed the value from 0:16 to 0:18 and.. voila! now YT recognizes my footage as HLG!
Thanks for all!
This is genius! Thank you for making this.
Hey absolutely love your video but had a quick question would love an answer to. Basically when grading in ACES Rec 709 in davinci then exporting using the Rec 2020 ST084 (1000nits) + DNXR the image comes out much darker. I am grading using BRAW and was just wondering why it looks darker in the render.
I have the same problem, did you find any solution?
@@sokre988 nothing unfortunately
When you say the exported image looks darker, do you mean when viewing on an HDR display or an SDR one?
@@VideoTechExplained This is straight after the export, viewing the HDR file in VLC on my SDR monitor, it always seems darker than when previewing the SDR ACES Rec 709 timeline in Davinci
@@tomfodenfilm The HDR to SDR conversion performed by VLC is different than the one performed by Resolve. In my experience, Resolve's transform tends to make things look brighter in SDR than they do in HDR. So I've taken to using a modified version which also reduces the brightness by half a stop. I get better results that way
if in ACES i can't find my camera? I am using the DJI pocket 3, and I am trying using the HLG mode.
I really need to know how I can use wallpaper engine on non HDR displays. Can you please help?
I would like to use this workflow, but for DaVinci Wide Gamut. How does one acquire the .cube file necessary for the last step, since I don't want to use ACES?
This is so underrated for this too much good information
Hello, great video. I've got a question though, can I make a HDR video from any log footage I got? I mean it's got a wide dynamic range, right? So I have a choice, either I make an SDR or HDR video. Or it must be shot on specific HDR camera?
Any video can theoretically be converted and re-encoded in an HDR container. It's just a question of how well it will take advantage of the HDR format.
Shooting log or RAW goes a long way since those formats can typically be converted back to linear light automatically (or are linear already) which makes them much easier to work with. Similarly, 10-bit and wide color gamut capture aren't technically required but make a big difference
I think Davinci has an option to add hdr10 metadata to the exported video. Isnt it the same as using the injector tool?
Yes, though doing it this way does not allow you to attach the ACES conversion LUT, so the SDR conversion on TH-cam will look different than what you see in the preview.
Im new to all this, your vid shows that you can use raw footage for post HDR video production but all raw 10 bit footage is ok? What's a log type of format?
do you think there is a much easier workflow to do the same thing with the latest version of Davinci Resolve 18.5?
Thank you for making this. I might just be able to start using HDR finally. What would be the appropriate input transform for a linear exr sequence or a cineon log dpx sequence?
Not sure, I would look over on the ACES forum (community.acescentral.com/). For Blender at least, I render everything to EXR with an ACEScg gamut (see: www.toodee.de/?page_id=1720#) and then use the ACEScg input transform. EXR's are linear so the gamma shouldn't need any input transform, but you'll want to make sure the color space is being handled properly, hence rendering with ACEScg primaries
@@VideoTechExplained Thanks!
Very helpful. Thanks
Very great video, thank you!
What about the scopes? What level do we need to set for maximum output ? When you color grade them it's different from the final output, when you make the change from hdr to sdr...
So when you have the Rec.709 tone mapping enabled, the scopes will reflect what you're seeing on your monitor and what people will see on the TH-cam SDR version. It maps the HDR 0-10,000 range down to 0-100 in a logarithmic fashion. I don't have the exact numbers in front of me, but it's something like 100 nits HDR corresponds to 85 nits SDR, 1000 nits HDR correspond to 98 nits SDR, 10,000 nits HDR corresponds to 100 nits SDR.
Those aren't the exact numbers, but it's something like that. My advice would be to just enable the Rec.709 tone mapping and then grade as you normally would. People watching in SDR on TH-cam will see the same thing you're seeing on the scopes, and people watching in HDR will see values above about 85% as being up in the HDR range. Hope that makes sense
Thanks a lot. That was excellent, truly. Can you tell me what I should use as ACES input transform for my footage shot on GH5S in HLG? And if I'm not uploading to TH-cam, but only intending to view it on a HDR TV, do I still need the Metajector stuff? Thanks and cheers, Greg.
Try Rec.2100 HLG. I don't have a GH5S so I'd recommend testing this yourself before relying on it for any projects. If that doesn't work, try shooting in V-log since that does have its own dedicated input transform
As for viewing it on an HDR TV, I am not entirely sure. Different TVs will probably have different compatibility requirements when it comes to playing back files directly. I'd recommend using TH-cam as an intermediate if it's an option, since the process for uploading HDR there is well documented.
At the end of the day, the only way to be sure is to test it and see what happens. That's how I developed this workflow, through trial and error
Hello my friend, I made a 4k hdr video (60fps) according to your tutorial, but the produced video is too big, 6 seconds video consumes 1g of space. Is there any way to make the video size smaller? My camera is a7s3.
I believe in this video I recommended exporting to the DNxHR codec. Since this video was made I've switched to rendering to H.265, which has quality that's good enough for TH-cam but with a much smaller file size. In Resolve, under "Quicktime" use H.265 with the NVIDIA encoder and set the profile to "main10." If you don't have this option, then you can try rendering to DNxHR and then transcoding that file to H.265 10-bit with another application like HandBrake or ffmpeg
@@VideoTechExplained Thank you. I have converted the video to h265, selected main10, NVIDIA, Quicktime, and then used the injector to inject the video with hdr information and upload the video to youtube, but when I watch the video on youtube, the resolution option does not display hdr words. May I ask how to make youtube display the words hdr?
Sometimes it can take a while for TH-cam to process a video into HDR. Maybe wait a day or so and see if it shows up?
@@VideoTechExplained Yes. You are right. Thank you.
Such a wonderful tutorial thank you so much
Hi VTE, I have a question regarding export settings,
under Video -> Advanced settings -> Data Levels:
There are 3 options - Auto, Video or Full
The default is on Auto but should this be switched to Full for exporting HDR content?
Also, every TH-camr out there seem to suggest VBR high quality with the default Lookahead of 16 frames as the ideal 4k export setting but most of them are uploading 4k24p. For someone like me who wants to upload 4k60p videos with constant motion, would CBR high quality produce better quality than VBR (both at max 200k bitrate)? and should the number of Lookahead frames be adjusted for because of 60fps?
I'm not sure about the data levels. My advice would be to just leave it at auto unless you have a specific reason to change it. If I had to guess I think HDR should be full though.
As for the export bitrate, VBR usually gives better results because it can allocate bits more efficiently, increasing and decreasing the data rate depending on the complexity of the frame. CBR is mainly used for stuff like live streaming where the bitrate needs to be consistent. For most purposes though, VBR is better. I just use the default settings and I've never had a problem thus far
Hello, I can't download the "HDR MetaJECTOR Tool with SDR LUT" from Drive. 😞
As a mac user, this has some faults, would love to help figure it out, but iMacs cover the P3 space, and using the mac built in color sync works for SDR footage, but with the ACES conversion everything looks totally bonkers.
Hmm, I don't have a Mac to play around with and test it. Could you send me some images of what you're seeing? My test methodology would be to generate a test pattern in Rec.709, bring it into your project with a Rec.709 input transform, then try different output transforms until it looks the same. It's tricky if your monitor isn't calibrated for a standard format like sRGB or Rec.709
@@VideoTechExplained This is basically the issue: tinyurl.com/y4dao8aj
The color adjustment function does work for normal grading. I am uploading my first HDR test now and will screen it on my iPhone / HDR TV to see if it maps sort of accurate.
@@VideoTechExplained Also if I do a print screen it doesnt work because the P3 color management is happening in the software for the panel, so it will look properly for you. It is a mess.
@@VideoTechExplained Trying to figuring out the equivalent ProRes type for the export.
@ Is there any way to disable Apple's color management completely? Then you could just choose P3 as your output transform. On my system I had to disable all of Windows' color management except for the DisplayCAL profile I generated with my calibration tool
What if you have the studio version of Resolve. I'm assuming for this version I don't need to use the meta injector tool. So my question is how do you inject the metadate in the paid version of Resolve?
If you have the studio version, you can automatically attach HDR metadata via the deliver tab, yes. Make sure to check "HDR Mastering is for 1000 nits" and "Enable HDR10+" in the color management tab, then check "Export HDR10 metadata" and "Embed HDR10 metadata" in the deliver tab.
However, one important thing to note is that doing it this way does not allow you to attach a custom HDR to SDR conversion LUT. TH-cam will perform the downconversion automatically using their own system, but the SDR version on TH-cam will look different from the version you monitored earlier. In order to make the SDR version on TH-cam match the one in Resolve, I still recommend using the metajector tool as it allows you to attach the appropriate LUT
Can you color grade HDR footage with a graphics card that doesn’t support HDR?
Thanks
Would anyone know what the ACES Input Transform is for the 10-bit GoPro Hero 11 Black?
There is no dedicated input transform for the GoPro as far as I'm aware. I don't have a Hero 11, but when I do have to work with GoPro footage I'll use the Rec.709 input transform and then use the "Highlight" wheel to roll off the highlights so they don't get too bright in HDR.
While the GoPro 11 does have 10-bit support now, its actual dynamic range is still relatively poor. While you can theoretically bring GoPro footage into an HDR project and make it look normal, you likely won't be getting many of the benefits you'd expect from HDR.
Personally, if I were shooting a video primarily on GoPros then I'd just deliver in SDR. I only use GoPro footage in HDR when the video has other footage which would actually benefit from HDR delivery.
@@VideoTechExplained I've resorted to using Rec.709 in SDR too.
Thanks for the explanation- much appreciated!
Hi, I have some questions:
1. Under Resolve's project settings should you not select HDR mastering is for "1000" nits? What about "Enable HDR10+"?
2. I'm getting 40GB file size for a 3 minute video when exporting with DNxHR and I typically upload videos to TH-cam that are between 40-60 minutes long. Can I use H265 instead of DNxHR to keep under the TH-cam file size limit?
Cheers for the video
1. For this particular workflow, that is not necessary. According to Resolve's manual, all that setting does is make sure appropriate metadata is being sent to the HDR display if you have one connected.
2. Yes, that also works. Just make sure you select "Main10" under the profile or else the output will be 8-bit.
@@VideoTechExplained Got it, thank you!
Is there a difference between doing an ACES transform in the project settings vs. doing it node-based using the ACES plugin? The plugin doesn't have the option for ACEScc or ACEcct, only ACES version number.
Also, in Gerald Undone's "How to Correct Log" vidoe, he demonstrates that unlike a color space transform, an ACES transform (node-based) is "destructive" in that any highlights clipped during the transform is unrecoverable later in the workflow. This means if the footage filmed ETTR we would need to pull down the exposure before applying the ACES transform. Does this apply to this particular HDR workflow? i.e. if I'm doing an ACES transform in project settings color management, would my highlights be clipped before I've made my exposure correction?
@@filmingjapan4k I actually didn't know that ACES was destructive when you apply it to a node! The more you know, I guess.
As far as the transform itself, there is no difference between applying the ACES transform in the color management settings versus doing it in nodes. I prefer using the color management tab since it makes the process more centralized. IE, if you want to change the output format you only have to do it in one place instead of going through and changing all your nodes.
If you do want to use nodes, you'll want to use two. For the first one set the input to whatever your source footage is and the output to ACEScct, then apply your grade in the nodes after that, then add a node at the end to convert from ACEScct to either Rec.709 or Rec.2020.
Regarding clipping, this isn't really an issue as long as you apply the transforms at the start and end of the chain, not in the middle. In Gerald's video he applies a heavy exposure correction *Before* the input transform which causes the image to clip prematurely. If you apply the input transform first then nothing will clip beyond what was clipping in the original file
@@VideoTechExplained Thank you! So you're saying these two workflows are the same am I right?
1. apply transform from slog3 to rec709/rec2020 (ACEScct) in the color management tab -> grade -> export
2. 1st node transform from slog3 to ACEScct -> 2nd node grade -> 3rd node transform ACEScct to rec709/rec2020 -> export
@@filmingjapan4k Yes, those should yield more or less identical results. There is a bit of nuance to it since when you have it set up in color management will automatically perform certain transforms for you (like for example automatically setting the correct transform to output a DCP) but as far as transforms go they should be the same
Hi, Thank you for this video :)
I'm following your tutorial and got a few issues.
I'm using Resolve 17 version and my camera is Bmpcc 6k,
every file is BRAWs.
7:47 When I right click my braw footage on Resolve 17,
There is no "ACES input transform" option, only seeing "LUT".
And inside "LUT", There are so many options for Blackmagic design
and only 2 two
Blackmagic pocket 6k film to video/extended video.
Footage looks so weird with "Blackmagic pocket 6k film to video".
It doesn't look natural like your video 8:53.
Thank you:)
Hi. Since BRAW is a RAW format, it doesn't have any transform baked-in. Resolve is smart enough to automatically transform any RAW footage into ACES when you drop it into an ACES timeline. So, you shouldn't need to apply an input transform for a RAW clip, only non-raw formats like ProRes or H264.
To double check that Resolve is transforming the RAW clip correctly, go into the "Camera RAW" tab, change Decode Using to "Clip" and the Color Space and Gamma options should be greyed out, because Resolve is automatically applying ACES for both settings.
Subed here. Thanks for this. Now I have a question. Can you mix Rec.02100 HGL content with Rec. 709 content on one video and get a complete HDR video? Also is is possible to use templates of Motion Array into these projects? I tried that but the colors are all off... It would be great to know if it is possible. Thank you.
For your first question, yes.
What about HDR video shot with my Samsung Galaxy S20+? How do I choose the right ACES input transform filter for that?
Try Rec.2020 ST2084
@@VideoTechExplained Yeah I tried all of them and the most suitable is REDcolor2/REDlogFilm
@@motionreport9747 I would be cautious with that since a Samsung phone is definitely not capturing using a RED gamma. It might be that the correct transform gives you an image which is accurate but doesn't look as good to your eye.
@@VideoTechExplained Yes, when I apply it, it turns red into pink, so I had to adjust it manually. Anyways HDR is just too hard to edit on an SDR monitor and the file size is enormous, no wonder it mostly used by big production movies. Thanks for the response and for this video!
08:34 They don't just deliver one format in HDR.
I have a top-of-the-line Sony LED TV, with Dolby Vision, HDR10, & HLG. But there are some HDR videos, that don't display in HDR format, on my TV. So either the video is output in HDR10 Plus, or there's something wrong with the metadata. But I don't see other people complaining in the comment sections, in those videos.
Unfortunately, my TV cannot tell what HDR format is currently being played, like some LG TVs can.
Post a link to the video.
@@mrshaheedmalik It's some of the TH-cam channels, that advertise with 4K HDR video. Some even claim, that it's Dolby Vision or HDR10, or HDR10 Plus, but to my knowledge, TH-cam only supports HLG.
If you go the metadata route, is there still a workaround to do the same?
I'm not 100% sure what you mean by this. The exact delivery method will vary depending on which platform you're uploading to. The method I described works for TH-cam, but I can't comment on any other platforms.
@@VideoTechExplained well TH-cam accept several flavours of HDR , the other require metadata to deliver.
@ The tutorial in this video delivers PQ, which would be my recommendation for TH-cam. However, if you want to go the HLG route I believe you can attach the appropriate metadata using mkvmerge github.com/youtubehdr/hdr_metadata
Very nice and to the point. Thanks. Please, do some tests on how to use AI for frames interpolation. One example would be the DAIN app v0.48.
This video should be updated as we have Davinci 18.x i never liked Premiere .FCP is only on apple devices
Bro i have gopro 7 black.
It's output videos are very Bad
But gopro channel's Videos are amazing in 4k. I am very sad with my gopro 4k footages
When uploaded in youtube
How can i achieve High quality and super colour footage
How i grade like pro ?
Shame there is no option for the metajector for mac...
The metajector is just a script to simplify the use of a tool called mkvmerge. I believe there is an equivalent version of it available for mac, though you will need to write your own script in order to use it.
What can't we use an HDR TV instead of the expensive monitor. All HDR content from the internet are viewed on HDR Tvs, am I wrong to think this way.
You can, but most HDR TVs are very, very inaccurate compared to monitors. So you shouldn't use a TV for grading for the same reason that you should calibrate your monitor
??????????? Color grading without knowing a value of color by the numbers? For example values in lab or rgb or cymk???Are we taking simultaneous contrast or chromatic adaptation into account? This is asinine because I come from a photoshop background
I upload many HDR video game game plays
Jesus H Chris, what a lot of arsing about. Thanks for the effort but I'm not sure all all this is for me just for my family videos!