CorellianSmuggler

Fullmetaled said:

Vilgefortz said:

Can you tell me why popular films like the back to the future trilogy uhd and the et uhd haven’t been regrained like what you’re doing for Star Trek the motion picture’s directors cut?

I suppose it depends of people who make decisions, in case of TMP —>

https://www.blu-ray.com/movies/Star-Trek-The-Motion-Picture-4K-Blu-ray/294699/#Review
“This is discussed in detail in the supplements. Listen to the Fein, Matessino, and Dochterman commentary track at the 1:06:40 mark (as well as the “Return to Tomorrow” supplement) where the conversation begins about the grain removal and re-introduction because it was “distracting.” It detracted from the experience, they say.”

Some people think that “grain is bad”. And if it happens that the decision of what to do with particular movie is in their hands, then we may get botched transfers that doesn’t even resemble film look.

No I meant why haven’t fans fixed these blunders like what your doing?

I think what they were saying was that the grain was intense and inconsistent. So that was distracting. I’ve seen it and it has grain, it looks great with the grain consistent throughout. I love it!

Whatever happened to this project?

Don’t forget that at the moment, all current macs are also PCs. So if you really need, you can install a windows 10 partition and boot into windows on your mac. I use Parallels and it’s really fast and reliable for the windows software that I need to run in addition to my Mac software.

I have also worked with everything from SD to 4k dpx files on the mac, it’s my reliable machine of choice!

As for software, I keep getting more and more impressed the more I use DaVinci Resolve. If you’re working only up to 1080p, their free version can’t be beat. I do own the studio version, and it’s becoming the ideal tool for professional work across the board. (The only flaw, is that I wish it had many of the plugins of other apps, but this is quickly changing to include resolve as well.)

Best of luck!

CS

44rh1n said:
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?

I’m using DaVinci Resolve. However, my 4k footage was converted to Rec.709 following the above proceedures. Is there a way to make it properly identified as Rec.2020 or do I need to alter the ProRES encoding to reencode it to be Rec.2020 before editing? I’d prefer to just have the ffmpeg conversion I already made in Rec.709 be seen as Rec.2020 and be output as Rec.2020 correctly.

I’m editing on an iMacPro, so I have a HDR (although not top specs) screen and can playback MKV’s with HDR with color intact.

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.

I did try this with the ffmpeg generated Rec.709 prores files, output as Rec.2020 ST2084 (I believe) and again, washed out, or even worse than before.

This is a simple color management setting in DaVinci Resolve.

I’ve now matched to your example above.

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.

For UHD/4k work, I’ll always use DaVinci Resolve for this reason and others.

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).

I’ve tried the output using VLC, and the results are still washed out, but I believe this is because Resolve is still reading the ffmpeg ProRes conversions as Rec.709. Is there a way, and it is the proper equivelent, to have Resolve see them as Rec.2020 instead, and is the Rec.2020 range still in the files converted by the ffmpeg system presented in this thead.

My goal is to the find a way to either output my edit back to a HDR UHD disc, or a HDR compatible file that I can play on a HDR 4k TV.

Thank you SO much for your help! I really want to just work this whole thing out… 😉

Anyone have any ideas about my above question? Anyone? Anyone? Bueller? Bueller? Bueller?

I appreciate the whole thread and it’s good to know color range is preserved, but my edits look washed out and not at all near the original color correction.

(THANKS)

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.

What did you use to go from the multichannel FLAC to multi-file wav?