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44rh1n

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Members
Join date
5-Dec-2014
Last activity
2-Jul-2020
Posts
132

Post History

Post
#1359505
Topic
Harmy's STAR WARS Despecialized Edition HD - V2.7 MKV IS OUT NOW
Time

DrDre said:

44rh1n said:

DrDre said:

I’ve started work on the colors for Despecialized 3.0

There appears to be quite a bit of splotchy chroma artifacting going on. Is that in the source or is it just the result of crappy web compression? (Are you grading in 10-bit?)

I’m afraid, that’s in the source, although compression may cause it to look worse. I’m using a 10 bit source.

What software are you in? We were having this exact same issue a few weeks ago with Star Wars in Premiere because Premiere defaults to 8-bit processing. But we didn’t have any problems in Resolve, or when we manually enabled 10-bit processing in Premiere.

Post
#1357770
Topic
Harmy's STAR WARS Despecialized Edition HD - V2.7 MKV IS OUT NOW
Time

Harmy said:

Hello, guys. So, as I said before, I’m getting this month off from work and I’m planning to work on Despecialized.
Now, the reason I’m writing this post is to ask you guys for donations. I hate to do this but as I’m a freelancer, being out of work means I’m not gonna be getting any income and right now, the VFX industry is kind of f*cked, because all filming has stopped due to COVID, so I’m not even sure there will be much payed work for me in the future. Luckily, if it comes to that, I can survive on savings for a while but I will have to cut any extra expenses, so I could really use some help with the software and hardware expenses for Despecialized.
Any donations to harmypaypal@email.cz are welcome and, of course, any donors will get their names in the credits.

Just to be upfront about this, I can’t actually promise any delivery date on Despecialized - I’m starting over with an all new set of sources and right now, I’m still trying to figure out how to properly work with the HDR sources and it’s a bit frustrating. But I’m talking to some guys about possible collaborations, including oohteedee and DrDre, so hopefully, we’ll figure it out together.

I was finally able to send you a small donation today, Harmy. Hope it helps. And I hope you’re doing well during these crazy times! Please let me know if you need anything else! I’m excited to see how 3.0 turns out! (Waiting patiently, of course). 🙂

Post
#1357720
Topic
Toy Story (1995) 1.5K restoration in 3D
Time

Honestly, I’m trying hard to understand this project, but it’s tough. It’s supposedly a “restoration,” yet you’re releasing a 3D version of it? Toy Story wasn’t released in 3D originally, so I don’t understand how you can call that a restoration. Also, the color grading on that teaser trailer looks very different from what I remember Toy Story looking like when it first released. What’s your color reference? It doesn’t look like a film print, nor does it look like the digital master. So why is the color so strange? Lastly, the amount of banding on that trailer is horrific. If a “restoration” looks this blotchy and compressed and outright ugly, then what’s the point of it? Don’t get me wrong, I love Toy Story and I love the idea of fixing some of the changes that Disney made to it in later releases. But this project doesn’t seem to be doing it for me. I hope I’m proven wrong though! 🙂I suppose I should wait to see the final product before casting judgement. Thanks for your work.

Post
#1357292
Topic
Star Wars: The Skywalker Saga 4k UHD -- 27 DISC Boxed Set -- 3/31/2020
Time

emanswfan said:

Got a chance to watch the new 4K Dolby Vision version of Lawrence of Arabia, and my goodness did it remind me what a proper film restoration is supposed to look like with the latest tech.

Dang, I’m jealous. I can’t justify forking out over $100 for that Sony boxset right now, especially since I already own Lawrence of Arabia in 4K on VOD. Unfortunately, it’s only in SDR on VOD right now – I’d love to see that new Dolby Vision HDR grade sometime! Hopefully in the future!

EDIT: Never mind. I just checked, and the 4K VOD release has been upgraded to Dolby Vision. Yay for free upgrades! I’ll have to check it out soon.

Post
#1351905
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

Also, I think Premiere itself might be part of the artifact problem you’ve been having. Turns out Premiere sequences default to 8bit.

  1. My LUT applied in Resolve (how it’s supposed to look):

  1. My LUT applied in Premiere, default sequence settings:

So you have to go into Sequence Settings, and check the “Maximum Bit Depth” checkbox in order for it to display in 10bit. Then the artifacts should disappear.

  1. My LUT applied in Premiere with Maximum Bit Depth checked:

And when you export, you have to check the “Maximum Bit Depth” checkbox in the export window as well. Pretty strange IMO. Not sure why Premiere requires so many extra steps.

Post
#1351879
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

Harmy said:

I just noticed 44rh1n already provided some LUTs in his post, so I’ll try those.

Now that I have the Star Wars UHD Blu-ray in my hands, I’ve been able to create a new LUT tailored specifically for the film. (The previous two LUTs were simply technical transforms from Rec2020 to Rec709, whereas this new one is a technical transform with some creative adjustments specific for the film’s grade).

Mainly, I got rid of the magenta tint, and adjusted the curve so it’s not so dim. I think it looks really nice, and captures the essence of Star Wars. You’re welcome to use it as a starting point if you’d like.

It’s available in the same folder as the other two, here. It’s the one called “Rec2020ToRec709_CSTCreativeSW.cube.” I’ve also included the .drx file, which is the custom node tree I made in Resolve to create this LUT, so you can tweak it to your own liking if preferred.

Post
#1351819
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

oohteedee said:

Harmy said:

Just a hypothetical - if one used a LUT on an adjustment layer above everything and then graded everything so that it looks good with the LUT and then exported a 10bit file without the LUT, could this be used as HDR output?

Even then without an HDR monitor you don’t know how it’s going to look until it’s fully rendered and viewed in HDR on your TV.

Really you need to do your adjustments in HDR with a proper monitor for it to work well.

Exactly.

Theoretically, you “can,” but it certainly wouldn’t produce a great result. Monitoring in HDR is a must if you want to master in HDR.

Post
#1351806
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

Harmy said:

OK, I see 😃

That workflow is a great way to future-proof your work though! If you used that workflow (doing all the grading underneath the LUT), then your entire grade would be preserved within that flat, logrithmic color space, which could then be used to create an HDR output in the future with minimal effort (after reference-caliber HDR monitors come down in price).

Post
#1351802
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

Harmy said:

Just a hypothetical - if one used a LUT on an adjustment layer above everything and then graded everything so that it looks good with the LUT and then exported a 10bit file without the LUT, could this be used as HDR output?

Theoretically, yes, as long as the export is flagged as HDR. This can be done in Resolve under the color management settings.

However, when producing HDR content, in order for it to be worthwhile, it needs to be created using an actual HDR monitor. Otherwise the film could end up looking fine in SDR, but then looks totally different than intended in HDR. (You’d basically be doing an HDR grade blindly).

While decent SDR monitors for content creation are relatively cheap these days, monitors for HDR content creation are still very expensive - like the Sony X300 or the FSI XM310X. Although some prosumer displays are starting to get pretty good - like the ASUS ProArt PA32UCX and the Apple Pro Display XDR. (Still expensive though).

Post
#1351785
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

oohteedee said:

In the screenshots you posted I don’t see where you select 10bit. How do you know it’s being processed as 10bit?
It could still be processing it as 8bit but then saving it in a 10bit ProRes file. It would only be 8bit info but in a 10bit wrapper.

That’s why I prefer command line because you have complete control of the workflow.

If it outputs a ffmpeg log file you can confirm its workflow with that.

That’s super smart. And you may be right. I’m fairly certain that doing it this way in Hybrid preserves the 10bit during the entire process though. If it didn’t, then I’d be seeing the artifacting that Harmy was seeing when he did the conversion in Media Encoder, as well as the artifacting seen in MPV. But the Hybrid conversion is totally clean. The input file is 10bit, the output file is 10bit, and there’s no artifacting at all. So I’m pretty positive it stayed as 10bit the whole time. But you’re right, knowing that for certain is definitely great. I might have to read up on how to do the command line. But for now, Hybrid gets the job done for me. (Especially with my original workflow of rewrapping to MP4 and then doing the ProRes conversion in Resolve. That definitely preserves the 10bit). 🙂

Post
#1351776
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

On the Jobs tab what does the progress percentage show? For me, even with a powerful computer it takes several hours to complete the entire conversion from HEVC to ProRes. Sometimes it might show that one task is finished, but the progress as a whole hasn’t totally finished.

oohteedee said:

Try the command I posted instead of using hybrid. It works.

Doing the whole movie can take 8 or more hours depending on how fast your machine is.

Or do this! I’m a GUI man myself, but command line can be more robust if you know how to use it, and it looks like oohteedee definitely knows how!

Post
#1351765
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

oohteedee said:

It’s important that force 10bit when you do it. The default with ffmpeg is 8bit. That could be the issue you are having.

I bet that was it! Once I finished mine through FFmpeg, it looked perfect.

oohteedee said:

I never work direct with an x264 or x265 because it’s always very sluggish and it’ll often show the wrong frame when scrubbing back and forth. In ProRes every frame is a key frame so the frame displayed is always accurate.

I couldn’t agree more with this statement!

Post
#1351757
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

Harmy said:

Yeah. I converted it to ProRes and I’m getting the same artifacts there. Though I did the conversion in Adobe Media Encoder, so that might be the problem.

Alright Harmy! I think I’ve figred it out! My ProRes 4444 sample conversion just finished, so I threw it into Resolve and it looks great! No artifacts anymore (at least, nowhere near the same as the previous stills). My suspicion is that MPV with its on-the-fly tonemapping, as well as Media Encoder, aren’t processing it in the highest quality possible. Because the slow ProRes 4444 conversion done in FFmpeg looks amazing.

  1. Flat HDR

  1. Tonemapping Applied

  1. Tonemapping & 200% Saturation

  1. Quick Custom Grade

Or here is a link to the images as TIFFs, instead of the compressed JPG versions above.

As far as creating the ProRes file in FFmpeg goes, here are the settings I used:


Post
#1351734
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

I finally have a Star Wars 4K HDR copy now, so I’ll stress-test it on my end as soon as I get the chance, to see how it holds up. But from just glancing at oohteedee’s D+77 (sourced from the 4K HDR), his doesn’t have the artifacting. So there might be something in the workflow chain causing the artifacting to happen on your end.

https://i.imgur.com/o02DAv2.jpg

Have you tried converting to ProRes before applying any color adjustments? ProRes, for me, fixes loads of issues. I think because it’s a codec intended for intermmediate work (color grading, editing, etc.)

Post
#1351714
Topic
Guide for Working with 4K HDR Blu-ray Rips in SDR
Time

Harmy said:

I was wondering if you guys could help me out with the HDR stuff - I’m working in Premiere and I don’t have DaVinci studio.
I remuxed the mkv to mp4, as per the guide and when I import that into Premiere, I do get the flat-looking image but when I try to make any adjustments to it, it brings out some really awful color-artifacts.

In my guide I say to rewrap the mkv to mp4 in FFmpeg and then transcode to ProRes in Resolve Studio. But then oohteedee suggested that you can simply transcode straight to ProRes with FFmpeg and skip the mp4 step altogether. So that’s what I’d recommend, since it doesn’t require Resolve Studio! Then you’ll be able to pull the ProRes file into the free version of Resolve (or any other software). Working in ProRes will take up more storage space than the MP4, but it will run much faster and efficiently on your computer.

Post
#1344316
Topic
44rh1n's "The Fellowship of the Ring" Extended Edition Color Restoration
Time

Dwalin said:

44rh1n said:

Luckily The Two Towers and The Return of the King aren’t affected, and the official Blu-rays of those films both look amazing.

Yet the editions of The Two Towers differ.

My extended Blu-rays of The Two Towers and The Return of the King perfectly match the original extended DVD releases. Maybe there’s an issue with other regions? But my US copies of both those films are perfect.

Post
#1344042
Topic
44rh1n's "The Fellowship of the Ring" Extended Edition Color Restoration
Time

ChainsawAsh said:

FOTR wasn’t a complete DI, which is part of why the EE BR is so different compared to TTT and ROTK (which were complete DI’s). So at least some film would need to be scanned again for FOTR.

Shoot, you’re right. I had forgotten about that, but now that you mention it I’m recalling the color grading featurette from the Appendices, where I believe they said only about 70% went through digital intermediate. Well, however they source the inevitable 4K release, I just want it to look nice and be true to the original release’s grade.

Chewielewis said:

44rh1n said:
I’ve been wondering about this myself. Since LOTR is so VFX heavy, redoing visual effects in 4K is probably out of the realm of possibility. Honestly, I just hope it’s sourced from the original 2K DI, and upscaled. No monkey business, no green tint, no DNR, no artificial sharpening, no scanning of a print — just the original file that got rendered out as the master, before it got printed back onto film. That would be the best source IMO.

But yeah its practically impossible for this to happen. Consider the hardware and software the vfx pipeline was built on is long decommissioned. An enormous amount of effort for a very minimal upgrade in fidelity.

Yeah, I agree that there’s pretty much no chance they’ll remaster the VFX in 4K. It will almost certainly be an upscale. But I’m ok with that. A lot of people give the 4K UHD upscales of 2K films a lot of flak, but in my opinion (when done correctly) they are still a massive improvement over the 1080p Blu-rays. People fail to understand that, while 2K 2048x1152 seems like it’s not much higher of a resolution than 1920x1080, it’s actually about 300,000 more pixels. So I’d rather see those pixels preserved in an upscale than removed in a downsampled BD.

FrankB said:

May I ask from where the information comes (it was finished digitally as a 2K DI)?
By the way: Thanks for your work, 44rh1n!

Fellowship of the Ring was one of the first films to go through a DI (digital intermediate) process. And back then, pretty much all films were done in 2K. It wasn’t until 2004 with Spider-Man 2 that a film had a 4K DI – and even then, it was super rare do finish a film in 4K. Even nowadays, probably half the major films are still mastered in 2K. We have a ton more being delivered in 4K now, which is awesome, but there’s still quite a lot done in good’ol 2K.