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….”

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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

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    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.

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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.

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

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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

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Nick Driftwood: Panasonic Lumix GH5 Hybrid Log Gamma – Video and HLG HDR Workflow Notes

“New HDR Functionality recording with HLG. See the HDR video on Panasonic site at: https://youtu.be/ju35M4gnDBE

… HLG has similar gamma characteristics to SDR in dark range (processing in blacks similar to BT.709 below 100 nits), then changes to a log gamma above ~14 nits. Extends log processing of displays high brightness peaks up to 2.5 to 3 stops to mitigate blown-out or clipped whites. Can be displayed unprocessed on an SDR screen as EOTF adjusts system gamma to correct for viewing environment (10 to 500 nits) Does not require scene mastered metadata unlike PQ (HDR10) or Dolby Vision. Is best for Live production and fast turnaround HDR as you don’t need to grade too much if you’ve exposed to use the extra display stops correctly….

WORKFLOW: I output on a Mac to Pro Rez 422 10-bit (you can use any 10-bit or lossless package on your computer)Iand then recoded to bring the size down and add flags using HEVC. I used FFMPEG which is freely available to Windows, Mac and Linux users to code my HEVC files and to add the necessary HLG and Rec2020 flags which will trigger HDR TVs to play automatically the content in HLG. Here’s an example command line (make sure you download the 10-bit version of x265lib. Mac users should download Homebrew to install a compile.;-

ffmpeg -y -i /Volume/Drive/Inputfilenamel.mov -c:v libx265 -x265-params level=5.1:vbv-bufsize=60000:vbv-maxrate=60000:crf=20 -pix_fmt yuv420p10le -preset fast -color_primaries bt2020 -colorspace bt2020_ncl -color_trc arib-std-b67 -c:a aac -b:a 128k /Volume/Drive/Export_filename.mp4…”

Links

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Ars Technica: We can now convert every film and TV show from the last 80 years into HDR

https://arstechnica.com/information-technology/2017/05/sdr-to-hdr-conversion/