@@joyoffilming9500 Thank you for your lovely message. I believe that Switzerland is blessed by God because he has dropped so much beauty from the sky for the happiness of those who live there or who stop there for a moment.
You don’t need to check HDR Vivid because neither your MacBook Pro nor YT nor your TV support it. Consumer displays most certainly can reproduce luminance levels well below 1 nit and I would not recommend limiting black levels in that way. You definitely want to perform HDR10+ analysis on the color page prior to delivery, otherwise there is no MaxCLL or MaxFALL metadata to embed in the files. If no metadata is present, YT will apply generic metadata that is not representative of either your display’s capabilities or the contrast range of the material. Dolby Vision and BMD trainers recommend setting data levels to Auto on the deliver page, not Full. You might also consider using Rec.2020 (P3-D65 Limited) as the output color space, as your MacBook Pro display is P3 and no consumer devices can reproduce Rec.2020. As for the grade, the colors are over-saturated and unnatural. Colorfulness can be increased without cranking up saturation.
Thanks for all your great comments which I am happy to answer to. Didnt’ know about the HDR-Vivid limitations. But will checking it kill anything? Not sure about it. With the luminance level of 1 - agree with you after some self-experiences that I’ve made in the meantime. Need to learn how to conduct HDR10+ analysis - to be honest, never did it before. Will also try with the auto level setting rather than full (which I learned from another color grader) Re the P3-D65 Limited color space, I remember that YT does not recommend it - am I wrong here? Fully agree with the high saturation of the footage shown in my tutorial - some of it may come from screen recording for HDR delivery (a nightmare). Anyway, no extra saturation was applied. Great comments and advice - that’s what I call ‘critical’ feedback - Thanks a lot!
@@joyoffilming9500 Sure thing. HDR Vivid is an open source HDR standard, sort of a Chinese version of HDR10+. In order to analyze HDR10+ metadata, first check Enable HDR10+ on the color management page. Then, in the toolbar of the Color page, select Color > HDR10+ > Analyze all Shots. Google's Help page is a little confusing. You don't want to master P3-D65 ST2084, but Rec.2020 (P3-D65 Limited) is perfectly fine.
Maybe you have solved my mystery of my phone screen randomly going bright on certain videos!! Yours has HDR quality options which make my screen really bright up when I turn my phone landscape, and I have been randomly having this happen with certain youtube shorts
Yeah,seems to be HDR content whenever your phone gets brighter than usual. Im am wondering why so few RU-vidrs don't take advantage of their high quality cameras with huge dynamic range and do not deliver for HDR. And, if the views has no HRD screen, it will always play nicely in Rec 709 automatically - this exactly is the purpose of HDR.
Yeah, it is a bit challenging because the shots are different with each camera but the Lumix really seems disappointing on the details. The focus shift shots on the 13 Pro Max look amazing and I wonder how the Sony would compare. I suppose it can't reach the same low apertures but should still look okay. DJI stabilisation is brilliant but the focus shift looks too clinical and there isn't the same amount of cinematic feel you get with the others perhaps down to focal length
Thanks for your perfect observation - couldn't have summarized it better. The little Sony is a true beast! I recently did a test shooting for a larger Real Estate Commercial, using the Sony on a Weebill S gimbal to check out the scene and prepare for the final shooting with the Lumix. And, I was surprised, that 90% of the shots came out so great that I need to re-shoot only two smaller rooms which would require 16mm lens. And, during day light the iPhone on a stabilizer is awesome - especially when shooting on ProRes. Thanks for watching till the end -:)
It was a bit challenging to juggle all the different cameras in my mind but I think 3 appeared the most disappointing. 2 maybe my favourite with 1 having great zoom (makes me think this was the RX100 VII), and four was okay also. I think the results video is a few videos later, going to try look for it now
Well done, finally somebody producing something in HDR. Since MacBook, iPhones TV’s and RU-vid can now all deal with HDR it blows my mind that so many people shoot in Slog 3 for the very best of everything and then decide they’re going to downconvert to REC.709. And the lame excuses they give. they are, far more talented than I am so I’m at a lot as to why they’re not more inquisitive and trying this. Well done and I’d love to learn more about your process because I use da Vinci resolve and colour managed and HLG.
Couldn't agree more with you. Once I got my new Macbook with HDR screen, I immediately switched to HDR delivery. Unfortunately, most people assume you need to record in HLG for HDR delivery which is not the case - I delivered nice HDR even from 8bit cinelike-D recordings. Regarding you desire for a HDR workflow, perhaps one of my recent videos provides some initial help: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-BM1LEU9Jd6Q.html It does not show everything, but if you substitute the Dehancer Pro node in DR with your own grade nodes you may get pretty close to a nice HDR delivery process.
@@joyoffilming9500 I didn’t know that about a bit, nice. I found Final Cut Pro quite good for taking SDR up to HDR. There’s a setting now to do automatically. That said, I use da Vinci resolve.
Thank you for the informative video on the HDR workflow with Dehancer Pro. As a Dehancer user, my wish is that a video like this will include the most critical subject in any film or digital visual medium: the inclusion of skin tone.
Fully agree - skin tone is the most critical thing. Anyway, objective of this little tutorial was to show that Dehancer Pro is great for HDR delivery, too - which many do not seem to know. Also, I would tackle the skin tones in color correction, not in Dehancer Pro.
@@joyoffilming9500 Thank you for the reply. I do appreciate the information about the HDR support in Dehancer. It's obvious that my previous comment is not about color grading skin tone using Dehancer. It's about how skin tones are affected by film emulation in Dehancer, which requires further tweaking under the Dehancer node in the nodes tree.
@@willianaleman6114 Sure, I was kind of anticipating it. Anyway, whenever you have a Dehancer Node in your node tree you may want to go either into DHP color adjustments or into you color balancing nodes to fine tune / correct any unwanted color effect on (skin) tones.
Hey, you are right re the saturation. Wanted to demonstrate how far one can push the codec of the Lumix S1H without breaking it. Re the 24 fps, there is a simple reason: I prefer 25 fps for sync with EU lighting to avoid flickering or 30fps to better sync with modern playback devices that all go at 60fps refresh rate. Hope that makes sense for you. Pls let me know about any idea I may have missed out,
.. and the great progress Dehancer Pro does with every update is a true demonstration of your team's passion. In the meanwhile, I made Dehancer Pro the essential grading tool in my DaVinci Resolve node tree, speeding up my workflow and render times significantly - will make a video about it soon.
Finally, a HDR walkthrough, thank you so much. I've noticed that the same file uploaded to RU-vid goes slightly darker than the same one uploaded to Vimeo. I'm trying to figure that out. We would all welcome more on this HDR workflow, perhaps what combinations and setting you have found work best for HDR workflow. Brilliant and thank you once again.
Thanks so much for your kind words. Means a lot to me. I agree that there is little about HDR delivery to be found in YT, unfortunately. And, I intend to shed a bit more light on it as most of us do have appropriate footage for it. Could you pls send me a link to the Vimeo file you are referring to. I did not upload the file by myself - perhaps did someone else. That would allow me to take a look at it to better answer your question.
@@joyoffilming9500 the RU-vid version. Like you I shoot in HLG, it's an obvious choice over SLOG given my lack of capabilities. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2Mp3xLR38uw.htmlsi=PQwYgtMHbuSSTuLj
@@Coatsey007ah, now I see. Unfortunately, I have no experience with uploading to Vimeo. What I could imagine: Vimeo might require different settings and tagging. First thing coming into my mind is about embedded HLG or PQ 1000 nits. RU-vid accept both - not sure what Vimeo accepts. Hope it helps a bit.
Wow, das matching ist richtig gut gelungen! Es sieht natürlich auch insgesamt sehr gut aus. Ich mag diesen ins Cyan gehenden Farbton im Himmel total! :-)
I agree, V-Log has its limitations in low light because the curve is bent in the lows and linear into the highlights. A great alternative is HLG (BT 2020) because it is the other way round: linear from lows into mids and bent down in the highs. This gives some good leeway in the highlights! Also, curve and colors are standardised, allowing for much easier camera matching. Color grading is a breeze, and I could make all my grades for V-Log work perfectly for HLG, too. That said, I completely shifted towards HLG month ago, also delivering in HDR 1000 nits, too.
@@joyoffilming9500 Thanks for the quick response. I have yet to test HLG, but I have heard a lot of people recommending it for its dynamic range. Cine-d seems to be a happy medium of some color in post, and then Natural for the least work but usable burnt in image for skin tones and obviously least amount of color work.
