Info: Guide for Working with 4K HDR Blu-ray Rips in SDR — Page 4

Thank you all for the valuable tips.

44rh1n said:
**Important: Ensure “Mastering Display” is set to “1000-nit, BT.2020, D65, ST.2084, Full.” That is the correct option for most 4K Blu-rays. However, for some 4K Blu-rays that are mastered at 4000-nits, you’ll want to select the “4000-nit, BT.2020” option. ALSO: make sure the resolution and framerate are correct in the the Master Settings.

As for the 4000 vs 1000 nits, do I find the information in media info?
If not, how do I know which is which?

Could it be “Mastering display luminance” or “Maximum Content Light Level” (although in the second file this is higher than 4000)?

Thank you.

Video
ID : 1
Format : HEVC
Format/Info : High Efficiency Video Coding
Format profile : Main 10@L5.1@High
HDR format : SMPTE ST 2086, HDR10 compatible
Codec ID : hvc1
Codec ID/Info : High Efficiency Video Coding
Duration : 2 h 15 min
Bit rate : 62.8 Mb/s
Maximum bit rate : 110 Mb/s
Width : 3 840 pixels
Height : 2 160 pixels
Display aspect ratio : 16:9
Frame rate mode : Constant
Frame rate : 23.976 (23976/1000) FPS
Original frame rate : 23.976 (24000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:0 (Type 2)
Bit depth : 10 bits
Bits/(Pixel*Frame) : 0.316
Stream size : 59.5 GiB (100%)
Encoded date : UTC 2021-03-28 11:31:48
Tagged date : UTC 2021-03-28 11:33:00
Color range : Limited
Color primaries : BT.2020
Transfer characteristics : PQ
Matrix coefficients : BT.2020 non-constant
Mastering display color pri : Display P3
Mastering display luminance : min: 0.0050 cd/m2, max: 4000 cd/m2
Maximum Content Light Level : 636 cd/m2
Maximum Frame-Average Light : 103 cd/m2
Codec configuration box : hvcC

Video
ID : 1
Format : HEVC
Format/Info : High Efficiency Video Coding
Format profile : Main 10@L5.1@High
HDR format : SMPTE ST 2086, HDR10 compatible
Codec ID : hvc1
Codec ID/Info : High Efficiency Video Coding
Duration : 2 h 7 min
Bit rate : 50.4 Mb/s
Maximum bit rate : 100 Mb/s
Width : 3 840 pixels
Height : 2 160 pixels
Display aspect ratio : 16:9
Frame rate mode : Constant
Frame rate : 23.976 (23976/1000) FPS
Original frame rate : 23.976 (24000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:0 (Type 2)
Bit depth : 10 bits
Bits/(Pixel*Frame) : 0.253
Stream size : 44.8 GiB (100%)
Encoded date : UTC 2021-03-25 17:12:31
Tagged date : UTC 2021-03-25 17:13:24
Color range : Limited
Color primaries : BT.2020
Transfer characteristics : PQ
Matrix coefficients : BT.2020 non-constant
Mastering display color pri : Display P3
Mastering display luminance : min: 0.0050 cd/m2, max: 4000 cd/m2
Maximum Content Light Level : 4809 cd/m2
Maximum Frame-Average Light : 537 cd/m2
Codec configuration box : hvcC

winoni71 said:

Thank you all for the valuable tips.

44rh1n said:
**Important: Ensure “Mastering Display” is set to “1000-nit, BT.2020, D65, ST.2084, Full.” That is the correct option for most 4K Blu-rays. However, for some 4K Blu-rays that are mastered at 4000-nits, you’ll want to select the “4000-nit, BT.2020” option. ALSO: make sure the resolution and framerate are correct in the the Master Settings.

As for the 4000 vs 1000 nits, do I find the information in media info?
If not, how do I know which is which?

Could it be “Mastering display luminance” or “Maximum Content Light Level” (although in the second file this is higher than 4000)?

Thank you.

Video
ID : 1
Format : HEVC
Format/Info : High Efficiency Video Coding
Format profile : Main 10@L5.1@High
HDR format : SMPTE ST 2086, HDR10 compatible
Codec ID : hvc1
Codec ID/Info : High Efficiency Video Coding
Duration : 2 h 15 min
Bit rate : 62.8 Mb/s
Maximum bit rate : 110 Mb/s
Width : 3 840 pixels
Height : 2 160 pixels
Display aspect ratio : 16:9
Frame rate mode : Constant
Frame rate : 23.976 (23976/1000) FPS
Original frame rate : 23.976 (24000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:0 (Type 2)
Bit depth : 10 bits
Bits/(Pixel*Frame) : 0.316
Stream size : 59.5 GiB (100%)
Encoded date : UTC 2021-03-28 11:31:48
Tagged date : UTC 2021-03-28 11:33:00
Color range : Limited
Color primaries : BT.2020
Transfer characteristics : PQ
Matrix coefficients : BT.2020 non-constant
Mastering display color pri : Display P3
Mastering display luminance : min: 0.0050 cd/m2, max: 4000 cd/m2
Maximum Content Light Level : 636 cd/m2
Maximum Frame-Average Light : 103 cd/m2
Codec configuration box : hvcC

Video
ID : 1
Format : HEVC
Format/Info : High Efficiency Video Coding
Format profile : Main 10@L5.1@High
HDR format : SMPTE ST 2086, HDR10 compatible
Codec ID : hvc1
Codec ID/Info : High Efficiency Video Coding
Duration : 2 h 7 min
Bit rate : 50.4 Mb/s
Maximum bit rate : 100 Mb/s
Width : 3 840 pixels
Height : 2 160 pixels
Display aspect ratio : 16:9
Frame rate mode : Constant
Frame rate : 23.976 (23976/1000) FPS
Original frame rate : 23.976 (24000/1001) FPS
Color space : YUV
Chroma subsampling : 4:2:0 (Type 2)
Bit depth : 10 bits
Bits/(Pixel*Frame) : 0.253
Stream size : 44.8 GiB (100%)
Encoded date : UTC 2021-03-25 17:12:31
Tagged date : UTC 2021-03-25 17:13:24
Color range : Limited
Color primaries : BT.2020
Transfer characteristics : PQ
Matrix coefficients : BT.2020 non-constant
Mastering display color pri : Display P3
Mastering display luminance : min: 0.0050 cd/m2, max: 4000 cd/m2
Maximum Content Light Level : 4809 cd/m2
Maximum Frame-Average Light : 537 cd/m2
Codec configuration box : hvcC

Is that info for two different movies?

It’s the Maximum Content Light Level. So for the first one, it looks like it’s 636-nits, and for the second one it looks like it’s 4809. So I’d use the 1,000-nits setting for the first one and the 4000-nits setting for the second one.

44rh1n said:
Is that info for two different movies?

Yes

krausfadr said:

44rh1n, I’ve successfully finished a 4K edit in Resolve using Dolby Vision and adding additional color correction. When I export the project, for example to an HEVC mp4, the final result looks beautiful. Note: the project settings are just as you specify (also the output is of course REC 709).

Here’s my question: when playing on a TV the HDR notification icon comes up signaling that this is HDR content. This this is just a flagging issue and this is fully an SDR export, correct?

Good question. How did you export it? Did you use instructions in step 8?

“8). Lastly, go to the delivery page and set whatever export settings you desire (again, I always recommend ProRes, but the settings you would pick depend on your needs). ***Then go to Advanced Settings, and change the Tone Mapping to Dolby Vision. Ensure the selected option under Dolby Vision is “100-nit, BT.709, BT.1886, Full.” Once you’ve got all your export settings enabled and you’ve selected the Dolby Vision tonemapping, you can add the export to your Render Queue and export it out.”

If you followed those instructions and still have an issue, then you may additionally need to go to “Advanced Settings” on the delivery page, and set the “Color Space Tag” to Rec.709 and the “Gamma Tag” to Gamma 2.4.

If you just export out on HEVC without using the 100-nit trim, then it will export the HDR version. However, it likely won’t be a great HDR grade if you didn’t do it with a proper HDR monitor.

44rh1n said:

CorellianSmuggler said:

Thank you for this. It’ll be very helpful.

I have a question. I want to take a UHD and edit the film. I want to keep the grading that it was released with, but do my edit, and be able to output the edited version with identical grading from the source, but with the new edit.

This used to be as easy as making an MKV of the film, converting it to ProRES, and then outputting a new ProRES after the edit. NOW when I try this, the color is washed out and completely off, and I believe I lose the HDR grading entirely.

I really appreciate the direction to process the MKV to ProRES 444, that’s good… but I still see it with the ungraded look. Is there a way to extract a LUT from the MKV?

Thanks so much for your help.

The color is “washed out” and “completely off” because it’s a Rec.2020 source, but your video editing application is assuming it’s a Rec.709 source. What software do you use to edit?

If you want to preserve the original HDR grading without making any modifications, then it should look washed out on your SDR display. That’s normal. And then in your timeline and export settings, you need to specify that it’s Rec.2020 ST2084 so that it doesn’t default to exporting in Rec.709.

This is a simple color management setting in DaVinci Resolve.

In other common editing programs, unfortunately, it’s complicated and sometimes not even possible to specify your timeline and output color space and gamma. So I recommend DaVinci Resolve for that reason.

HDR video will always look washed out on an SDR screen unless it’s being tonemapped. So when you’ve exported your film, you can try playing it in VLC or MPV to see it with the tonemapped colors. (Or just simply play it on an HDR TV).

Thank you for the tip! I have a question though. I am also trying to edit/trim a movie leaving the HDR color grading as is, while using an SDR monitor. The type of grading it has is HDR10, but I noticed something. When I play an unedited clip (before editing it in resolve), it looks washed out, as it should. But once I render it through DaVinci, the end product does not look washed out even on my SDR monitor. Am I doing something wrong? I was expecting it to look washed out but once I put it on my TV it will display correctly (my TV does detect the HDR, but still). I have tried other settings, and the one you described here as well but the situation remains the same. Should I assume its working as intended? I think this has to do with the very last thing you are mentioning in this post. I understand this is not quite on topic for the thread, as I don’t intend to convert to SDR or anything, just trying to preserve the HDR grading without tinkering with it. I haven’t touched the grading tab at all, and haven’t touched LUTs too. (By the way, I also read your other posts in this thread, thank you).

krausfadr said:

44rh1n, also of note regarding importing HEVC rips into resolve:
when I imported a “23.976” FPS 4k mp4 rewrapped from an mkv rip, resolve had severe sporadic framerate problems with the import itself, even with the “correct” master settings for timeline and playback (23.976). original 4K UHD disc framerate was actually variable unfortunately. some frames in the resolve import were duplicated resulting in occasional stuttered, laggy video (in timeline and in the final export), which I didn’t realize until far into the editing project when I stumbled across a duplicated frame. as a test, reimported a new project in resolve at 24 FPS in master settings (timeline and playback) with the same bad result. so then I imported the same mp4 into premiere and every frame was perfect (albeit no real HDR support). ultimately I had to use hybrid to create a prores which resolve imported perfectly with no frame issues. resolve is a great program but very buggy when it comes to certain things premiere handles with ease. using hybrid before the import to resolve is a reliable way to avoid possible issues.

EDIT: note in my original editing project I used cineform mov files exported from resolve. I don’t edit directly in HEVC or H264.

I have encountered this issue as well, I don’t really know Premiere as I really liked Resolve for the little I do. I tried all framerate settings at a project-scale, and clip-by-clip and it doesn’t work. The stutter happens every 40 seconds or so for 2-4 short bursts of duplicate frames replacing the frame right after it. I opened it in Premiere and the framerate is just fine. I’m going to have to learn the workflow from Premiere to Resolve…

I’ve been playing around with the OT 4K blus in Davinci and comparing them to other studio releases.

All three films are very dark when compared to other commercial blurays, I can see this in practice on my HDR TV and on the scopes in Davinci.

Which got me thinking that perhaps this is due to an authoring or encoding error. So I set out to test this to see if there is a single set of adjustments that can be applied to all three films to improve the picture.

Sure enough the same tweaks to Lift, Gamma and Gain improved all three films equally which leads me to think that there was an error somewhere with the encoding of the OT (I haven’t looked at the other films).

The settings I used were:
Lift -0.03
Gamma 0.04
Gain 1.10

I’m not an expert colorist, so I’d appreciate any feedback on these three settings and whether I should tweak them some more.

It started as a thread for how to work with the Star Wars 4k blurays.

Ideally I was hoping to add an extra step to that workflow to correct the errors of these releases and return them to neutral rather than dim.

Re your comments around the settings themselves, clearly you are not familiar with how dark these releases are when compared to all other commercial releases.

All good though, there is good discussion around this on the other forum so I’ll continue it there.

Hi 44rh1n, thank you for your helpful thread on HDR mastering in SDR. I had a question related to importing dolby vision metadata. I recently found a way to transfer a dolby vision rpu into xml and import it into resolve. The goal is to apply a dolby vision grade onto 3D footage (prores 4444 3840x1080). So far, I found a method to trick resolve into applying the metadata (isolating both eyes in a 3840x2160, then changing the timeline resolution to 7680x2160 after successful application), however I’m not quite sure how I will go about exporting this. The other question I have is Should keep the footage exclusively to rec 709, export at HLG to have the best of both worlds, or to just stick with a normal HDR export. Any thoughts or suggestions would be much appreciated 😃