MixingLight: Getting To Know Dolby Vision HDR – free-to-read 3-part article

https://mixinglight.com/color-tutorial/getting-know-dolby-vision-hdr-part-1/

“… Try to think about Dolby Vision as a funnel. The HDR grade is the wide end of the funnel: a high dynamic range (HDR), large color gamut, and possibly high resolution and frame rate moving image.

The Dolby Vision process analyzes your HDR grade (in the grading software), creates some metadata, and a Dolby Content Mapping Unit (CMU) reads the metadata produced by the analysis process. The metadata is embedded over SDI and in real-time the CMU creates a Standard Dynamic Range (SDR) version of the project….

… I know this is going to sound funny, but by starting with the HDR grade and deriving an SDR grade from that through the Dolby Vision process, I feel like I’m getting better SDR grades than I would have if I did the SDR version alone….”

blackmagic_egpu_04_1024px_80pc
Blackmagic Design’s DaVinci Resolve Studio and Blackmagic Design Blackmagic eGPU for colour grading, with MacBook Pro, Blackmagic Design DaVinci Resolve Mini Panel, LG UltraFine 5K monitor and URSA cinema camera.

Commentary

That MixingLight’s Robbie Carman is achieving better Standard Dynamic Range grades by starting off with a High Dynamic Range grade is not funny at all – this result has been reported for some time before he wrote his still-relevant article.

Although I do not currently have access to the means to shoot or post-produce in Dolby Atmos and Dolby Vision, Mr Carman’s excellent three-part article is proving invaluable in better understanding the how, why and wherefor of two key Dolby Laboratories technologies that have found their way onto contemporary 4K television sets, Dolby Atmos and Dolby Vision.

Links

  • Help support ‘Untitled’

    blackmagic_pocket_cinema_camera_4k_bmpcc4k_04_1024px_60pc
    Blackmagic Pocket Cinema Camera 4K with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens and mini-XLR-to-XLR audio cable for attaching XLR microphones, mounted on Benro Aero 4 Video Travel Angel Tripod Kit. Mini-XLR cable is made by Blackmagic Design for their Video Assist monitor/recorder but is also great for connecting XLR microphones to the BMPCC 4K, product code HYPERD/AXLRMINI2.

    Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • 8Sinn Cage for Blackmagic Design Pocket Cinema Camera 4KB&H
  • Blackmagic Design DaVinci ResolveB&H
  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Core SWX Powerbase EDGE Battery for Blackmagic Design Pocket Cinema Camera 4KB&H
Advertisements

Paul Leeming’s Leeming LUT One 801 for Panasonic Cameras including Lumix GH5 and GH5S is Available, More Versions to Come

We have been following Australian director/cinematographer Paul Leeming’s progress in creating, refining and updating his Leeming LUT One unified, corrective Look Up Table aka LUT system for popular mirrorless and DSLR hybrid cameras and camcorders ever since we launched the ‘Untitled’ project. 

Leeming LUT One began as an effort to transform the Panasonic Lumix DMC-GH4’s ‘Cine-D’ aka Cinelike D video picture profile into the most accurate, most realistic rendering possible and has expanded to encompass a range of cameras including those made by Canon, DJI, GoPro, JVC, Sony and more, with support for the Blackmagic Pocket Cinema Camera 4K and Fujifilm X-T3 and others coming in the near future. 

Mr Leeming continues to refine Leeming LUT One with version 801 for Panasonic being the most accurate yet, setting a new industry benchmark for realistic colour rendering for video footage shot with the Cinelike D, V-LogL and HLG profiles for editing in Rec. 709 movie projects. 

Recently I put Leeming LUT One 801 to the test with Cinelike D footage from my Panasonic Lumix DMC-GX8 camera, the one that goes with me almost everywhere everyday, and the results were, as usual, impressive.

Better yet, correcting footage with Leeming LUT One then adding film simulation or creative looks LUTs produces rich grading with a lush and easy-to-grade tonal range.

Many independent moviemakers shoot video for the same project on several cameras including within multi-camera interview set-ups, and Leeming LUT One is invaluable in reducing time in the colour grading suite matching footage from all those different cameras, especially when exposed according to the principles of ETTR aka expose-to-the-right.

In all the following examples, I graded quickly and minimally to simulate the look and feel of the subject at the moment I shot it, to be as realistic as video permits.

Skin tones in mixed available light with Leeming LUT One 801 and LookLabs’ Digital Film Stock Fujifilm Eterna 500T

Reds, greens and blue in strong sunlight with Leeming LUT One 801 and Leeming LUT Quickies v8 Basic Balanced v8 Lighter

Greys and greens in weak sunlight on cold, windy day with Leeming LUT One 801 and LookLabs Digital Film Stock Kodak 5218

Links

  • Leeming LUT Pro – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”
  • LookLabsDigital Film Stock aka DFS – “DFS instantly gives you the natural look of film and the most flexible set of LUTs on the market. The DFS bundle includes 19 LUTs that perfectly emulate the most popular Kodak and Fuji film stocks. DFS comes in both REC.709 and LOG video formats and all SpeedLooks camera patches work with today’s most popular digital cinema and mirrorless cameras. DFS even makes your Android videos look like film!”

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Olympus M43 lensesB&H
  • Panasonic Battery Grip for Lumix GH3 and GH4 Digital CamerasB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic M43 lensesB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GX9 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

fcp.co: Off the Tracks, the Film about Final Cut Pro X, Is Now Available to Download

http://www.fcp.co/final-cut-pro/news/2099-off-the-tracks-the-film-about-final-cut-pro-x-is-now-available-to-download

“… Ultimately this documentary is about how a tool has helped democratize movie making. It is also a product of what it preaches. Final Cut Pro X does empower storytellers and that message was what made me passionate enough to take all the time and energy to make this documentary. It’s a real meta sort of thing.…”

apple_final_cut_pro_x_fcpx_10.4.1_03_1024px_60pc
Apple Final Cut Pro X on Apple 27″ iMac Pro with Retina 5K Display (Late 2017)

Commentary

A confession: when I first cracked open Final Cut Pro X in its first iteration, I felt at home with it and its magnetic timeline concept in a way I never had with more conventional NLE products including Final Cut Pro.

And yet…

In 2011 Apple ended Final Cut Pro as we knew it and started over with a brand new video editing application: Final Cut Pro X. The disruption from this change is still being felt by the film, television, and video industries to this day.

With misinformation running amok, Off The Tracks aims to clear the air once and for all.

This documentary features exclusive interviews with the creative professionals who use the software and the developers who created it. Why did Apple make Final Cut Pro X?

Links

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Apple 15.4″ MacBook Pro with Touch Bar (Mid 2018, Space Gray)B&H
  • Apple 27″ iMac Pro with Retina 5K Display (Late 2017)B&H
  • BenQ PV270 27″ 16:9 Rec.709 / DCI-P3 Color Accurate IPS MonitorB&H
  • Datacolor CalibrationB&H
  • Eizo MonitorsB&H
  • Flanders Scientific Inc.B&H – although movie editors and color graders regard FSI monitors as the best there are, bizarrely B&H does not appear to stock the monitors themselves but only the accessories for them. I hope that this changes soon. Check out the FSI Solutions MediaLight 6500K Bias Light products for lighting your workstation area with light that will not throw your colour judgement seriously out of whack.
  • G-Technology HDDS and SSDsB&H
  • GTI Standard Gray Neutral N8 Vinyl Latex Paint (1 Gallon)B&H – “Standard Neutral Gray Munsell N8,
    Made for the Photo and Graphic Industry, Used in Color Viewing Areas, Water-Reducible Vinyl Latex Paint, Eliminates Simultaneous Color Contrast, Reduces Color Pollution of Viewing Area”
  • HP DreamColor MonitorsB&H
  • LaCie DrivesB&H
  • LG MonitorsB&H
  • Promise Technology Drives – B&H
  • Wacom TabletsB&H
  • X-Rite ColorCheckers and ProfilersB&H

James Miller’s DELUTS Creative LUTs Discounted 25%, with New LUTs Collections and Methodologies Added

Cinematographer/Director of Photography James Miller of DELUTS has been busy of late updating and adding to his DELUTS creative LUTs collections, most recently releasing a DELUTS Universe ARRI Set, a DELUTS Lightroom ACR Looks set, DELUTS C200 Looks and Transforms, DELUTS Overlook, DELUTS Universe Red Digital Cinema IPP2 Set v1 and DELUTS Universe, a whole new concept in sequential LUT application inspired by the beauty of Log C footage from ARRI’s ALEXA cinema cameras.

james_miller_deluts_acr_look_profiles_01
Profile from DELUTS ACR Look Profiles collection applied to original TIFF file provided by James Miller of DELUTS.

“… I first started DELUTS in 2015 after years gathering look profiles that I have generated for film projects. I decided to share these and have tried to build upon this offering creative looks for Video and now for Lightroom & Photoshop using the new Profile system in CC 2018 versions.

The DELUTS Universe set was born after nearly 2 years building the back bone of the system. If you just need looks to go over the top of footage that you have already balanced, then thats the DELUTS Overlook set is a great place to start. If you are working with images and want the look of DELUTS with RAW, TIF, JPEG etc then the new DELUTS Lightroom ACR Looks is the one to use. I have offers when purchasing 2 certain sets. The DELUTS Lightroom ACR Looks & DELUTS OVERLOOK are a great match for video and stills.”

Links

Blackmagic Design: Blackmagic Design Announces DaVinci Resolve 15

https://www.blackmagicdesign.com/media/release/20180409-01

“Blackmagic Design today announced DaVinci Resolve 15, a massive update that fully integrates visual effects and motion graphics, making it the world’s first solution to combine professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for….”

blackmagic_design_davinci_resolve_15_01_1024px_60pc
Blackmagic Design DaVinci Resolve 15, Edit page

Links

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Blackmagic Design DaVinci Resolve Studio (Activation Card)B&H
  • Blackmagic Design DaVinci Resolve Studio (Dongle)B&H

Mystery Box: Panasonic GH5S & Shooting HDR10

https://www.mysterybox.us/blog/2018/1/8/panasonic-gh5s-hdr10

“… Whether you’re new to shooting and delivering in HDR, or have been practicing for a while, the Panasonic GH5S with V-Log L enabled provides a fantastic starting point for an all-HDR10 workflow.  From monitoring what you’re shooting in HDR10 to delivering your content through the color grading process, the LUTs and workflow we’ve created will accelerate your ability to leverage HDR10 on nearly any size budget…”

The Panasonic Lumix DC-GH5S Super 16/M43 hybrid video camera.

Links

Production and equipment rental company Mystery Box, LLC has published a number of articles about aspects of shooting and post-producing HDR video that are useful reading for those needing to dig deep into how to get the best out of it all.

Help support ‘Untitled’

Austrian manufacturer Angelbird makes more affordable V90 SDXC cards than Panasonic’s own alternative and they are reportedly just as reliable.

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Angelbird 64GB AV Pro UHS-II SDXC Memory CardB&H
  • Angelbird 128GB AV Pro UHS-II SDXC Memory CardB&H
  • Angelbird 256GB Match Pack for the Panasonic EVA1B&H – special promotional packaging of two Angelbird 128GB AV Pro UHS-II SDXC memory cards that are just as usable in other cameras than the AU-EVA1 that also have UHS-II SD card slots.
  • Angelbird Atomos Master Caddy 4K RAW (500GB)B&H
  • Angelbird Atomos Master Caddy 4K RAW (1TB)B&H
  • Atomos Ninja Inferno 7″ 4K HDMI Recording MonitorB&H
  • Atomos Shogun Inferno 7″ 4K HDMI/Quad 3G-SDI/12G-SDI Recording MonitorB&H
  • Atomos SUMO19M 19″ HDR/High-Brightness MonitorB&H
  • Atomos Sumo 19″ HDR/High Brightness Monitor RecorderB&H
  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H

The Daejeon Chronicles: How to Work with the Leeming LUT in FCP X 10.4

https://jonpais.wordpress.com/2017/12/26/how-to-work-with-the-leeming-lut-in-fcp-x-10-4/

“Apple has gone ahead and and released what can only be described as a humungous update for Final Cut Pro, including the ability to edit 360° video, advanced color grading tools like curves and wheels, look up tables without the need to use third-party plug-ins, support for high dynamic range video and a whole bunch more….

… But while on the surface, the UI looks reassuringly familiar, those who shoot HLG for rec. 709 delivery using the Leeming LUT may be in for some unpleasant surprises….”

Apple Final Cut Pro X 10.4 running on an Apple iMac Pro workstation computer.

Links

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H

fcp.co: Final Cut Pro X 10.4 Announced With New Wheels and Curves Colour Controls and 360 Tools Built-in.

http://www.fcp.co/final-cut-pro/news/2011-final-cut-pro-x-10-4-announced-with-new-wheels-and-curves-colour-controls-and-360-tools-built-in

“We’ve just got back from the Apple Presentation that’s part of the FCPX Creative Summit and we have some great news about 10.4 to share. New colour tools including wheels & curves and 360 tools built in….”

Commentary

Some interesting acronyms and abbreviations from this article:

  • 360
  • 3D
  • HDR
  • Camera LUTs
  • Custom LUTs
  • 4K RED
  • HEVC
  • 8K

Links

Frame.io: Why DaVinci Resolve May Be the Single Most Powerful Tool in Post

https://blog.frame.io/2017/09/06/davinci-resolve-may-be-most-powerful

“You may have heard of DaVinci Resolve as a color grading tool—it has a strong pedigree in color, and about a decade ago, you only would have seen it inside high-end post-production houses and finishing facilities, replacing the color timing workflows for film with cutting-edge digital intermediate workflows.

However, it’s also great for syncing audio, preparing dailies, conforming, and in the past few years, has even started to offer tools for editing and sound mixing. The sound mixing tools are brand new, so the industry hasn’t adopted them widely yet, and the editing tools aren’t yet as robust as what you’d see from Apple, Adobe, or Avid, but they’ll suffice in a pinch. This whole collection of tools, together, makes Resolve one of, if not the most powerful tool in post-production. It’s the glue that holds the entire post-production workflow together….”