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By Benjamin Hilton · Posted
If you set your Davinci settings to use Apple Profiles for display, and then use Rec709 for your profile, it gives an accurate output for YouTube, at least it does for all of our workstations -
By Benjamin Hilton · Posted
This is why I check all my final grades on my macbook pro screen. It's not perfect, but it seems like it's a good approximation of a lot of screens out there -
Another question! On the S5ii I used SAF for foto as it seemed more accurate than CAF. What is everyone using on the newer cameras? -
By Ilkka Nissila · Posted
How about using Dolby Vision? On supported devices, streaming services, and suitably prepared videos it adjusts the image based on the device's capabilities automatically, and can do this even on a scene-by-scene basis. I have not tried to export my own videos for Dolby Vision yet, but it seems work very nicely on my Sony xr48a90k TV. The TV adjusts itself based on ambient light and the Dolby Vision adjusts the video content to the capabilities of the device. It seems to be supported also on my Lenovo X1 Carbon G13 laptop. High dynamic range scenes are quite common, if one for example has the sun in the frame, or at night after the sky has gone completely dark, and if one does not want blown lamps or very noisy shadows in dark places. In landscape photography, people can sometimes bracket up to 11 stops to avoid blowing out the sun and this requires quite a bit of artistry to get it mapped in a beautiful way onto SDR displays or paper. This kind of bracketing is unrealistic for video so the native dynamic range of the camera becomes important. For me it is usually more important to have reasonably good SNR in the main subject in low-light conditions than dynamic range, as in video, it's not possible to use very slow shutter speeds or flash. From this point of view I can understand why Canon went for three native ISOs in their latest C80/C400 instead of the dynamic range optimized DGO technology in the C70/C300III. For documentary videos with limited lighting options (one-person shoots) the high ISO image quality is probably a higher priority than the dynamic range at the lowest base ISO, given how good it already is on many cameras. However, I'd take more dynamic range any day if offered without making the camera larger or much more expensive. Not because I want to produce HDR content but because the scenes are what they are, and usually for what I do the use of lighting is not possible. -
It seems we have wen’t through the same rabbit holes already🙂 Back in the day with Macbook Airs I tried to calibrate their displays for WB, but it was more like a hit and miss. Since then I have not bothered. By accuracy I just ment that the HDR timeline looks the same in Resolve than the exported file would look on my Macbook Pro screen or MBP Pro connected to my projector or to OLED via HDMI, or when I am watching the video from Vimeo. Like you said, the real pain is the other person’s displays. You have no way of knowing what they are capable of, how they interpret the video and it’s gamma tags, even if set properly, with or without HDR10 tags. The quick way to check this mess would be to take your video to your phone. If it looks the same, start Instagram etc post. After first step it usually messes up the gamma if the tags are wrong or meta can’t just understand them. After 30 days it anyways degrades the HDR to SDR, highlights are butchered and the quality gone. And for example the IG story just don’t seem to understand HDR at all. Also my ipad has only SDR display, and watching my HDR videos on it is not pretty. Usually I don’t use LUTs, as I prefer the Resolves Color managed pipeline, but I’ve tried also non color managed with LUTs and CSTs. I’ve tried the non LOG SDR profiles on Z6iii and on various Panasonic cameras, and did not like them, or LOG with LUT baked in. They clipped earlier than LOG, but were cleaner in the shadows, if you needed to raise them though. I usually grade my footage to SDR first, because I want to take screen captures as images from it. Then duplicate the timeline, set it to HDR, adjust the grade and compare both. I’ve used quite a lot time to get both looking good, but still almost always HDR looks better, as it should as it has 10x more brightness, 1000 nits vs 100 nits, and wider color space. Some auto correction in the Iphone to SDR video usually takes it closer to my HDR grade, so clearly my grading skills are just lacking when pushing the 11-12 stops of DR to SDR😆 With S5ii in same low light situation with headlamps you could say I had problems, as the image looked always quite bad. Now with ZR, Z6iii and GH7 the results are much better in that regard I would say. Dimmer lights are always better than too bright ones, or putting them too close to the subject. The 1st thing I did after getting the GH7 I shot Prores RAW HQ, PRRAW, Prores and H.265 on it and compared them. Recently shot also R3D, NRaw and Prores Raw on ZR and just did not like the Prores Raw. It’s raw panel controls were limited and it looked just worse, or needed more adjusting. On GH7 the PRRaw was a maybe slightly better than it’s H.265 but the file sizes were bigger than 6k50p R3D on ZR🙄 I have made power grades to all Panasonic cameras that I’ve had, to Z6iii NLog and NRaw, to ZR R3D and also to Iphone Prores. So the pipeline is pretty similar no matter what footage I grade. Have also a node set to match specific camera’s color space and gamma too for easier exposure and WB change, when it can’t be done on the Raw panel. The best option at the moment in my opinion is NRaw, as it’s file size is half the R3D and trimming and saving the trimmed NRaw files in Resolve works too. R3D is slightly better in low light, but as long as saving only the trimmed parts does not work you need to save everything, and that sucks, big time. The HDR section was just in the middle of the book, and last thing I read. If someone prefers projected image over TV’s and monitors I would think they prefer also how the image is experienced, how it feels to look the image (after you get over the HiFI nerd phase of adjusting the image). At least I do, even though my OLED’s specs are superior compared to my projector. So the specs are not everything, even though important. Yes, delivering HDR to social media or directly to other people’s displays, you never know how their display would interpret and show the image. Like you said it is a bigger mess than even with SDR, but to me worth it to explore as my delivery is mostly to my own displays and delivery to Vimeo somewhat works. The Apple gamma shift issue should be fixed by know for SDR. Watched some YT video about it linked to Resolve forum, that Rec.709 (Scene) should fix everything, but it is not that straight forward. Also while grading it has an effect too on how bright conditions are you grading. If you grade on a dark room and another person is watching the end result on bright daylight, it very likely does not look like how it was intended. With projectors it is even worse. Your room will mess up your image very easily, no matter how good projector you have. Appreciate all the inputs, not trying to argue with you. Would say these are more like a matter of opinions. And the more you dig deep the more you realize it is a mess, even more with HDR.
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