My Vimeo M2P HLG showcase- all shot in the native HDR format

[IShouldBeWorking]

Hey @Roamer105, I’d be really into that! I’m still trying to teach myself to grade my Dlog stuff in DaVinci using DJI LUTs and my own tweaks and getting mixed results. I’d love to hear your process and what’s worked well for you. Thanks!

 

[christangey]

Very nice in HLG good shooting too!
I have been shooting some HLG and a lot in DlogM with my M2P. I do like your footage, but for some reason I had somewhat lower success with my HLG footage. So if anyone is interested to squeezing out all of what has been captured in 10-bit DlogM, I have a workflow using Davinci Resolve Studio (16) and a set of LUTs I created that will produce absolutely stunning HDR10 videos from unaltered original DlogM footage. To convince myself regarding the quality of the process, I shot several scenes in both modes (just minutes apart). I sure like what I can do with DlogM in HDr10. I use a 65" LG OLED C9 and I am super excited watching footage in HDR10 that I had taken some time ago with my M2P in DlogM.

If you are interested - reply. I can publish my "how-to" and the set of LUTs.

I'm sure people would be interested Roamer

 

[christangey]

Very nice in HLG good shooting too!
I have been shooting some HLG and a lot in DlogM with my M2P. I do like your footage, but for some reason I had somewhat lower success with my HLG footage. So if anyone is interested to squeezing out all of what has been captured in 10-bit DlogM, I have a workflow using Davinci Resolve Studio (16) and a set of LUTs I created that will produce absolutely stunning HDR10 videos from unaltered original DlogM footage. To convince myself regarding the quality of the process, I shot several scenes in both modes (just minutes apart). I sure like what I can do with DlogM in HDr10. I use a 65" LG OLED C9 and I am super excited watching footage in HDR10 that I had taken some time ago with my M2P in DlogM.

If you are interested - reply. I can publish my "how-to" and the set of LUTs.

Also Roamer, could you please post an example of a film you have made using this workflow? I'll be really interested to compare the color depth in particular of DlogM to HLG, thanks!

 

[Pablo]

I'd be interested in this Roamer.

Chris I loved watching those HLG videos. I started a thread on it a couple of weeks back actually as I wanted to figure out how to do HDR properly.

I tried to do it myself using HLG mode. I edited it in FCPX on my Macbook Pro and it looked good, but on my TV in HDR mode it looks oversatured and unnatural. How did you manage to get such good colours and dynamic range without hitting the same issues I did?

Here's my attempt anyway:

 

[christangey]

I'd be interested in this Roamer.

Chris I loved watching those HLG videos. I started a thread on it a couple of weeks back actually as I wanted to figure out how to do HDR properly.

I tried to do it myself using HLG mode. I edited it in FCPX on my Macbook Pro and it looked good, but on my TV in HDR mode it looks oversatured and unnatural. How did you manage to get such good colours and dynamic range without hitting the same issues I did?

Here's my attempt anyway:

Happy to work that through with you Pablo, but your youtube video just looks like flashes of green unless I'm missing something?

 

[Pablo]

Happy to work that through with you Pablo, but your youtube video just looks like flashes of green unless I'm missing something?

That's really strange, it was working absolutely fine until I added some free Youtube music to it ad published it. That's Youtube for you!

The greens look really good though don't they! ?

 

[christangey]

That's really strange, it was working absolutely fine until I added some free Youtube music to it ad published it. That's Youtube for you!

The greens look really good though don't they! ?

I think they might call it "epileptic green" just quietly...Look forward to seeing it when you repost

 

[Proffy]

Great job! Keep exploring!

 

[christangey]

Great job! Keep exploring!

Thanks Proffy, it's in my blood.

 

[Roamer105]

No problem. I will complete a short description of my workflow for DlogM to produce HDR10 - stay tuned for that. Meanwhile I publish two short clips one taken in HLG and the other in DlogM within a minute of each other (did not even land the Mavic 2 PRO between the shots). Both are taken with the same FIXED White Balance and the exposure adjusted for both to EV0 with aperture 3.2 and Style to +1 (sharpness to turn off internal noise mitigation), -1 (softer contrast to maximize dynamic range detail and 0 for saturation..

This is the link for the HLG version: HLG Direct.mov
This is the link for the DlogM HDR10 version: HDR10 From DlogM.mov

Based on individual preference and the characteristics of the target display, slightly reducing contrast even with footage taken at "-1" contrast may be desirable. The following example shows that: HDR10 From DlogM reduced contrast.mov

I hope I set the protections of the google drive files correctly. I don't want to use YouTube for this as it will seriously mangle up the video contents.

FYI here is header info for the HDR10 version

ID :	1
Format :	HEVC
Format/Info :	High Efficiency Video Coding
Format profile :	Main [email protected]@High
Codec ID :	hvc1
Codec ID/Info :	High Efficiency Video Coding
Duration :	17 s 100 ms
Bit rate :	80.3 Mb/s
Width :	3 840 pixels
Height :	2 160 pixels
Display aspect ratio :	16:9
Frame rate mode :	Constant
Frame rate :	23.976 (24000/1001) FPS
Color space :	YUV
Chroma subsampling :	4:2:0
Bit depth :	10 bits
Scan type :	Progressive
Bits/(Pixel*Frame) :	0.404
Stream size :	164 MiB (100%)
Language :	English
Color range :	Limited
Color primaries :	BT.2020
Transfer characteristics :	PQ
Matrix coefficients :	BT.2020 non-constant
Codec configuration box :	hvcC

and here is the header info for the HLG version:

ID :	1
Format :	HEVC
Format/Info :	High Efficiency Video Coding
Format profile :	Main [email protected]@High
Codec ID :	hvc1
Codec ID/Info :	High Efficiency Video Coding
Duration :	17 s 100 ms
Bit rate :	82.7 Mb/s
Width :	3 840 pixels
Height :	2 160 pixels
Display aspect ratio :	16:9
Frame rate mode :	Constant
Frame rate :	23.976 (24000/1001) FPS
Color space :	YUV
Chroma subsampling :	4:2:0
Bit depth :	10 bits
Scan type :	Progressive
Bits/(Pixel*Frame) :	0.416
Stream size :	169 MiB (100%)
Language :	English
Color range :	Limited
Color primaries :	BT.2020
Transfer characteristics :	HLG
Matrix coefficients :	BT.2020 non-constant
Codec configuration box :	hvcC

 

[Roamer105]

As promised earlier here is a description of my Davinci Resolve Studio workflow to produce HDR from DlogM: Produce HDR10 footage from 10bit DlogM using Davinci Resolve 16.pdf

Here is the LUT necessary for mapping the DlogM original to a REC2020 ST.2084 (HDR10) timeline: HDR10 from M2P DlogM.cube

Here is the LUT necessary to map the timelinie to the SDR REC709 (standard display) Color Viewer: HDR10-REC709 SDR MONITOR LUT.cube

And here is the link to the LUT that produces HDR10 (from 8-bit Mavic Pro Dlog footage): HDR10 from M1P LOG.cube

I understand Davinci Resolve has a steep learning curve typical to a very sophisticated, function rich tool mainly geared to professional colorists. I have been using Resolve for over 4 years now since version 12. It took me a while to get used to its editing functions, however color grading capabilities are simply fantastic and quite intuitive to me. However, even after using it for years, I only scratched the surface of its capabilities.

 

[IShouldBeWorking]

As promised earlier here is a description of my Davinci Resolve Studio workflow to produce HDR from DlogM...

Thank you for sharing all of this information! It'll take me a while to reach a level where I'm actually following your process correctly, but I'm excited to start giving it a try.

 

[MPone]

As promised earlier here is a description of my Davinci Resolve Studio workflow to produce HDR from DlogM: Produce HDR10 footage from 10bit DlogM using Davinci Resolve 16.pdf

Here is the LUT necessary for mapping the DlogM original to a REC2020 ST.2084 (HDR10) timeline: HDR10 from M2P DlogM.cube

Here is the LUT necessary to map the timelinie to the SDR REC709 (standard display) Color Viewer: HDR10-REC709 SDR MONITOR LUT.cube

And here is the link to the LUT that produces HDR10 (from 8-bit Mavic Pro Dlog footage): HDR10 from M1P LOG.cube

I understand Davinci Resolve has a steep learning curve typical to a very sophisticated, function rich tool mainly geared to professional colorists. I have been using Resolve for over 4 years now since version 12. It took me a while to get used to its editing functions, however color grading capabilities are simply fantastic and quite intuitive to me. However, even after using it for years, I only scratched the surface of its capabilities.

Thanks for sharing too. Precious info.

 

[Roamer105]

I am sorry to say I did reference the wrong version of the M2P LUT.
To avoid further confusion I renamed the LUT as V2 and added it to the google drive location.
Here is the new link: HDR10 from M2P DlogM V2.cube

Some hints for taking M2P video:
These are things I do before I start shooting video and when I produce the post. They work well for me.

When taking shots during a flight make sure to:

1. Set the proper resolution and video mode
2. Set the desired Style (+1,-1,0)
3. Set a fixed white balance by first clicking AUTO and then click CUSTOM. This will auto-adjust the WB once and keep it.
4. Set exposure to manual.
5. Set the proper manual exposure (try to approach EV0 with what you think is the brightest you may shoot during the flight). I usually turn the M2P into the light (not into direct sunlight) and adjust to EV0.
6. Do NOT ALTER any of these settings during a single flight.

Most problems during post processing of video is due to AUTO settings on WB and Exposure. It makes it nearly impossible to grade a series of individual scenes taken from a single flight. Using HDR post production offers a much wider acceptable EV deviation especially in the negative range. I managed to post produce a shot that ranged from below -3 to above +0.3 without any difficulties and great results.

Let's say you flew a scenic mission through some mountain terrain on a clear sunny day. Inevitably you will fly through and shoot shadowed areas some of them possibly quite dark while also bright reflected sunlight features. They do end up with a significant variation of EV. Once again, if you produce a video from such a mission, you will end up cutting it into smaller scenes some of them bright and some of them darker. DO NOT treat them differently, Remember, you started off with the same fixed white balance and exposure settings. In post, put each scene clip together into a "node group" and grade them by allowing the brightest to fit the top and the darkest to almost get clipped at the bottom. Then take an appropriate scene (maybe puffy clouds or some other good reference white) to verify the White Balance by letting Resolve to adjust it. Sometimes the results are not good and not pleasing. If that is the case and if needed, make the WB adjustments manually using the scopes (parade).

 

[ManuFly]

I am sorry to say I did reference the wrong version of the M2P LUT.
To avoid further confusion I renamed the LUT as V2 and added it to the google drive location.
Here is the new link: HDR10 from M2P DlogM V2.cube

Some hints for taking M2P video:
These are things I do before I start shooting video and when I produce the post. They work well for me.

When taking shots during a flight make sure to:

1. Set the proper resolution and video mode
2. Set the desired Style (+1,-1,0)
3. Set a fixed white balance by first clicking AUTO and then click CUSTOM. This will auto-adjust the WB once and keep it.
4. Set exposure to manual.
5. Set the proper manual exposure (try to approach EV0 with what you think is the brightest you may shoot during the flight). I usually turn the M2P into the light (not into direct sunlight) and adjust to EV0.
6. Do NOT ALTER any of these settings during a single flight.

Most problems during post processing of video is due to AUTO settings on WB and Exposure. It makes it nearly impossible to grade a series of individual scenes taken from a single flight. Using HDR post production offers a much wider acceptable EV deviation especially in the negative range. I managed to post produce a shot that ranged from below -3 to above +0.3 without any difficulties and great results.

Let's say you flew a scenic mission through some mountain terrain on a clear sunny day. Inevitably you will fly through and shoot shadowed areas some of them possibly quite dark while also bright reflected sunlight features. They do end up with a significant variation of EV. Once again, if you produce a video from such a mission, you will end up cutting it into smaller scenes some of them bright and some of them darker. DO NOT treat them differently, Remember, you started off with the same fixed white balance and exposure settings. In post, put each scene clip together into a "node group" and grade them by allowing the brightest to fit the top and the darkest to almost get clipped at the bottom. Then take an appropriate scene (maybe puffy clouds or some other good reference white) to verify the White Balance by letting Resolve to adjust it. Sometimes the results are not good and not pleasing. If that is the case and if needed, make the WB adjustments manually using the scopes (parade).

Thank you friend for sharing your experience. Very useful for Davinci users. Using fcpx I ask what a similar workflow in FCPX could be, therefore starting from a dlog-m file in order to get a good view on HDR TV.
Does anyone do it in FCPX?
thanks.

 

[Roamer105]

Thank you friend for sharing your experience. Very useful for Davinci users. Using fcpx I ask what a similar workflow in FCPX could be, therefore starting from a dlog-m file in order to get a good view on HDR TV.
Does anyone do it in FCPX?
thanks.

You can try to use the LUT as it is (should be) a standard 64 CUBE LUT. Of course it was created with Resolve so it may not work. If the LUT loads and you can setup a Rec. 2020 ST. 2084 timeline and output and FCPX (I no nothing about it) has the ability to produce H265 10bit output with The necessary header attributes it should work.

 

[christangey]

Thank you friend for sharing your experience. Very useful for Davinci users. Using fcpx I ask what a similar workflow in FCPX could be, therefore starting from a dlog-m file in order to get a good view on HDR TV.
Does anyone do it in FCPX?
thanks.

Ok this thread is going in directions I never intended it to, and that's fine if people find it useful. My intention was simply to show HLG possibilities in an accessible viewing format, i.e. graded in Rec 709, which is one of the flexibilities of the format. Of course it was never going to possible to actually show HLG (HDR) files in an every day scenario such as this. One thing I would mention is that HLG files are able to be played without any grading as I described in this post from almost a year ago: Displaying native HLG (HDR) M2P files on 8K OLED, astonishing!

 

[Roamer105]

Ok this thread is going in directions I never intended it to, and that's fine if people find it useful. My intention was simply to show HLG possibilities in an accessible viewing format, i.e. graded in Rec 709, which is one of the flexibilities of the format. Of course it was never going to possible to actually show HLG (HDR) files in an every day scenario such as this. One thing I would mention is that HLG files are able to be played without any grading as I described in this post from almost a year ago: Displaying native HLG (HDR) M2P files on 8K OLED, astonishing!

No argument. My original post was just commenting on your awesome HLG footage and that unlike you, I ended up shooting mostly DlogM because I did not have quite as much success with HLG even though that format can be processed in Rec 709 straight from original, yet if so desired and able, also produce the HLG/HDR deliverable. So since i have this great LG OLED TV, I was motivated to post process DlogM into HDR10 with pretty good success. I probably should have started a separate thread. Sorry about hijacking yours.

 

[ManuFly]

Ok this thread is going in directions I never intended it to, and that's fine if people find it useful. My intention was simply to show HLG possibilities in an accessible viewing format, i.e. graded in Rec 709, which is one of the flexibilities of the format. Of course it was never going to possible to actually show HLG (HDR) files in an every day scenario such as this. One thing I would mention is that HLG files are able to be played without any grading as I described in this post from almost a year ago: Displaying native HLG (HDR) M2P files on 8K OLED, astonishing!

I apologize because I also made sure that the discussion moved from the origin.

 

[Roamer105]

Also Roamer, could you please post an example of a film you have made using this workflow? I'll be really interested to compare the color depth in particular of DlogM to HLG, thanks!

I uploaded a composition to the google drive in 20Mb/s H265 10-bit HDR (Rec 2020 PQ 1000 nits) in 4K (UHD). It is scenic view of a colorful area in southern Utah shot over a year ago in DlogM, style +1,0,0. I chose this because it had difficult lighting conditions with bright sun interrupted by large cumulus clouds creating a lot of shadow-play: Magic Of The Camelbacks HDR V3 Compressed.mov
The file-size is 635MB. This format will play of a memory stick on a recent 4K LG OLED TV such as the C9 series.

This video cut straight from the source DlogM footage with nothing else but a minor white balance correction applied.

This ends my contribution to this thread. Please contact me directly or start a new thread.