Streaming Dolby Vision, REC-709a, And Consumer OLED Displays

June 9, 2022

Team Mixing Light, and members, discuss streaming Dolby Vision mp4s; Rec. 709a (what is to be done); and consumer displays for grading.


Series

Office Hours – May 24

Mixing Light Contributors Joey D’Anna and Cullen Kelly join host Patrick Inhofer in leading a Mixing Light Office hours discussion. Today’s discussion included:

  • Real-time streaming for Dolby Vision?
  • Rendering and delivering with multi-resolution clips in a single timeline
  • Why we never (nor anyone should) talk about Rec-709a 🙂
  • The counter-intuitive decision to use a consumer OLED as a reference display

Table of Contents

  • 00:00 – Introduction
  • 00:45 – Contributors discuss what they’ve recently learned that they didn’t know before
  • 01:16 – Peder talks about his new sit-to-stand TBC console for his grading suite
  • 02:06 – Cullen has designed a new suite of tools for balancing images and is looking forward to share it
  • 03:16 – Joey updated his Dehancer plugin for Resolve and is really happy with its color science
  • 04:55 – Patrick is annoyed by the El Gato foot pedal he recently purchased
  • 07:08 – Jason is re-invigorated by approaching color grading from the perspective of human psychology and perception
  • 11:19 – Discussion of the grade for Top Gun: Maverick
  • 12:28 – Why isn’t the classic Log-to-video transform just the inverse of the original gamma transform that’s applied in the camera? Why do we use an S-curve?
  • 18:00 – Cullen uses Fusion to show the ‘color journey’ of an image from capture to display
  • 21:36 – Jason mentions the importance of knowing your capture ‘flavor’ for proper image reproduction of raw images
  • 22:50 – Circling back to the ‘Rec-709a’ fix for Apple displays and how it’s related to the original question
  • 27:27 – What’s with the different log curves (Arri Log-C, S-Log, RedLog3G10, etc)? What’s the history of these solutions?
  • 31:44 – Cullen shows the Log10 curve which is the basis of film negative capture – and is relevant in digital workflows
  • 33:40 – Jason talks about the shift in middle gray on the new ARRI 35 sensor
  • 35:19 – The importance of not making assumptions about the log-encoding method based solely on the camera manufacturer
  • 37:48 – Patrick posits: What if you don’t know the camera or the recording settings?
  • 41:27 – Color grading in flat-file or ‘baked’ workflows and how Premiere Pro 2022 is messing up renders
  • 44:47 – Joey advocates for ACES to be implemented on all NLEs.
  • 46:04 – Why color management on Premiere is not well implemented
  • 49:01 – How even in-house productions can’t keep track of recording settings for color-managed workflows
  • 52:40 – Is there anything wrong with just putting your hands on the rings and balls and color grading to the eye?
  • 54:16 – You CAN say no to a job if there’s no data for a proper color-managed workflow
  • 55:36 – Goodbyes

Resources Mentioned


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Comments

Homepage Forums Streaming Dolby Vision, REC-709a, And Consumer OLED Displays

Viewing 3 reply threads

    • R Neil Haugen
      Participant

      A good office hours … I was traveling at that time so that’s why even though my complex query was asked, I didn’t jump in.

      And … Cullen, thanks for the clarity … it’s as more of a morass of terminology rather than concepts. But great explanations here, especially Joey pointing out the difference between say tonemapping of luminance values, versus color volume issues, and that of conversions between color spaces and volumes.

      Plus the discussion on the LGs at the end was quite useful …

      Neil


    • Jim Robinson
      Participant

      A definition in the manual on transform tone mapping is how I perceived it – tone map is the transform with a smooth luminance roll-off in the shadows and highlights, and controlled desaturation of image values in the very brightest and darkest parts of the image. This setting is particularly useful for wide-gamut camera media and is a good setting to use when mixing media from different cameras.


    • Zeb Chadfield
      Participant

      We use QSCAN at The Finish Line so I can talk to that question if the person asking wants to know more on that.


    • Erik
      Participant

      Could it be this episode is missing in the podcast feed?


      • Patrick Inhofer
        Keymaster

        Erik – You are correct. In fact, the last few Office Hours are missing. I’ll get them posted over the next few days. Thanks for the nudge.

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