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Topics - Bender@arsch

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UPDATE 03.03.2021

- added: Color Grading in Davinci Resolve on a SDR Display
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This is my new hopefully final workflow - ACES Tutorial (cDNG - ACR - AE workflow) and HDR Tutorial (AE and Davinci Resolve)


Overview:

Introduction
   1. Short Tutorial
   2. What you need
   3. Helpful links
   4. Why this Workflow?

Part One: ACES - Long Tutorial (cDNG - ACR - AE - Workflow)
   1. Preparation: Open Color IO and Cinelog-C
   2. Adobe Camera Raw
   3. After Effects

Part Two: HDR - grading/delivering/Masterning/cross converting... on After Effects and Davinci Resolve
   1. Comparism between SDR and HDR
   2. Mastering in...
   3. After Effects and HDR Color Correction on a SDR Monitor
   4. Davinci Resolve
   5. Color Grading in Davinci Resolve on a SDR Display
   6. create your own LUT for HDR to SDR conversion (Optional)
   7. HDR to SDR conversion and Youtube Metadata tool (Optional)



1. Short Tutorial
Magic Lantern Raw - MLV App [Export as cDNG] - Adobe Camera Raw [Cinelog-C as picture Profil, change WB, sharpening and denoising] - After Effects (ACES - Workflow, change exposure) - Premiere Pro (Dynamic Link, editing, I use MLV app proxy export as manuel proxy files for editing - Export as TIFF) - Davinci Resolve (ACES, HDR grading and final Export)

This is a long and slow Workflow, but so far the best for me.

Here are some video examples.
Filmed with my Canon eos 5D Mark II with the Experimental Builds by Reddeercity
and 5D Mark III by Danne's Build






5D Mark II









2. What you need:
- MLV App https://mlv.app/
- Adobe Camera Raw
- Cinelog-C - not for free - https://www.cinelogdcp.com/cinelogc-overview
- Adobe After Effects
- Open Color IO and ACES Config (AE plug-in) - for free - https://opencolorio.org/
- Davinci Resolve


3. Helpful Links:
- What is ACES? https://www.oscars.org/science-technology/sci-tech-projects/aces
- ACES workflow (for log files): Youtube
- 5D Mark II ML Experimental Builds by Reddeercity https://www.magiclantern.fm/forum/index.php?topic=19336.0
- 5D Mark III ML Experimental Builds by Danne https://www.magiclantern.fm/forum/index.php?topic=23041.0

4. Why this workflow?
I've been looking for a way to get the raw data into the right form for a long time. And in ACES I see the best prerequisite for this.
The main problem/part is the search for the Camera specific IDT (Input Device Transform). For ACES you need IDT (Input Device Transform) and ODT (Output Defice Transform - Rec709 for example). And all Camera footage looks the same and right. For ARRi, RED... there is a specific IDT, but not for canon eos models.
Cinelog-C create some specific transformation to a own Log-space for eos and other Camera Models, that we can use it as a bridge to a IDT with Camera Raw. And this is for me the best way for quality.
Caution: This Workflow is not really userfrendly.




Part One: ACES - Long Tutorial (cDNG - ACR - AE - Workflow)

1. Preparation

- Open Color IO - Install Open Color IO: https://opencolorio.org/
you must download the "Sample OCIO Configurations" under downloads
Plug-In here: http://fnordware.blogspot.com/2012/05/opencolorio-for-after-effects.html
The easyest way is to create a folder in "C:\ProgramData\OpenColorIO" and put all Config files in.

- Cinelog-C
Put your "Cinelog v3.0 Camera Profiles" what you want to "C:\Users\user\AppData\Roaming\Adobe\CameraRaw\CameraProfiles"
And the "Config files" to "C:\ProgramData\OpenColorIO"

*list of Canon DSLR Camera: EOS 5DS, EOS 5DS R, EOS 5D mark III, EOS 5D Mark II, EOS 5D, EOS 7D, EOS 7D Mark II, EOS 6D, EOS 80D, EOS 70D, EOS 60D, EOS 50D, EOS 40D, EOS 100D, EOS 500D, EOS 550D, EOS 600D, EOS 650D, EOS 700D, EOS 750D, EOS 1100D, EOS 1200D, EOS M, EOS M2, EOS M3
complete list: https://www.cinelogdcp.com/digital-camera-profiles-2017

So lets start


2. Adobe Camera Raw:
    - for binning Modes cDNG I use Enhance Details: https://helpx.adobe.com/camera-raw/using/enhance-details.html
     Clean artefacts, moiree... and creates a new cDNG (uncompressed) -> works realy nice
     If possible you can download the latest version here: https://helpx.adobe.com/camera-raw/kb/camera-raw-plug-in-installer.html
 Here a sample from a 100% preview (3x3 48fps)
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   - Picture Profil set to Cinelog C V3 (and your Camera Model) (->set WB after picture profil)
   - set only WB, sharpening and denoising. Nothing more -> finish


3. After Effects
   - Projekt Settings: Working Space: "ACEScg ACES Working SPace AMPAS S -2014-004"
     click "Linearize Working Space" only   
     Depth: 32bit per Channel (float)


 - Create a new composition
 - create 6 Adjustment Layer (you can simply use shortcut strg + alt + y or z for windows)

here are the settings I use:
 - I use the plug-in fx-console for easy work https://www.videocopilot.net/blog/?s=fx+console
   you can use a shortcut for your effect preset, so it is a lot faster. And for the second clip, use simply copy and paste;)

Quote
Adjustment layer 6 - OpenColorIO
   Config. ACES 1.03   
   Input Space: Utility - Rec.709 - Dysplay
   Output Space: ACES - ACES - ACEScg
Adjustment layer 5 - OpenColorIO
   Config. ACES 1.03   
   Input Space: ACES - ACES - ACEScg
   Output Space: Output - Rec.709/ rec2020 / Rec.2020 ST2084 (1000nits) or what you wish to render out
Adjustment layer 4 - Exposure
Adjustment layer 3 - OpenColorIO
   Config. ACES 1.03   
   Input Space: Input-ARRI - V3 Log-C EI1800 - wide Gamut    -> for 5D Mark II and 5D Mark III
   Output Space: Utility - Liniear - Adobe Wide Gamut RGB
Adjustment layer 2 - OpenColorIO
   config. Cinelog-C   
   Input Space: Cinelog v3.0   
   Output Space: Alexa Wide Gamut V3 Log-C EI1800 with Film Matrix
Adjustment layer 1 - OpenColorIO   
   Config. ACES 1.03   
   Input Space: ACES - ACES - ACEScg   
   Output Space: Utility - Rec.709 - Dysplay

Explanation or better what I understood:
Layer 1 and 6 is the In and Out from ACR to the chosen Working Space. Layer 2 is the transform from Cinelog to another colorspace/log/IDT that ACES knows. I personally use alexa with Film Matrix -> colors looks amazing, maybe we can see it as a look and not original, but i like it. Layer 3 is the transform from a colorspace/log/IDT to ACES (ACES - space cannot be correct displayed because it is to large to be displayed). Layer 4 is the correction layer, but here you need Exposure only. Layer 5 bring ACES to the ODT, like rec709, rec2020 or Rec.2020 ST2084 1000nits. Or what you wish to render out.


Important:
This is a ACES Tutorial for MLV footage only. For other (log) files you can see this Tutorial:
Don't use Lumetry effects -> dosn't work correctly. No changing WB in AE, only in ACR.

Correction:
I use Exposure only in Layer 4 in AE. If you have the right WB and Exposure setting all will looking really nice. Sometimes, if you have a flat Image (DR too narrow), you need some kontrast. -> use Brightness & Contrast effects on the cDNG Layer. 

Rendering

I use Dynamic Link to Premiere pro, so you can correct something later without rerender. But for editing, Premiere has no Proxy function for Dynanim Link. -> You must use  "manual Proxyfiles" -> I use MLV app to render a proxy file. So i have a video layer and on top a proxy layer and cut it simultaneously.




Part Two: HDR - grading/delivering/Masterning/cross converting... on After Effects and Davinci Resolve

1. Comparism between SDR and HDR
HDR is not just a stretched SDR version, but extends the peak luminance, far beyond the range that can be represented by SDR correctly. SDR (like rec709) is limited to 6 f-stops, HDR is up to 17,6 f-stops!

And here is the problem. If you upload your HDR version to Youtube, youtube try to convert (HDR to SDR version) all the dynamic range to a to small area -> so it will looking flat. If you upload your Metadata to Youtube (MaxFALL and MaxCLL) it will look much better. After Effects and Premiere pro has no possibility to analyze or save/ delivering the HDR metadata so we need Davinci Resolve.
I already wrote that it there was a Youtube Metadata-Tool and now I understand how it works! With this Tool you can add a self created custom lut for HDR to SDR conversion. So you have the full control about your HDR to SDR conversion. -> but this is optional.


2. Mastering in...
We can choose between 1000, 2000 and 4000nits, 1000nits need minimum 10bit, 2000? and 4000nits minimum 12bit. But there is a problem. In my case, i think the 5D Mark II doesn't have enough dynamic range for 2000 or 4000nits (and i can't test it). But i want the correct ACES to HDR Transformation, so i choose Rec.2020 ST2084 and 1000nits for my grade.


3. After Effects and HDR grading on a SDR Monitor
If you want only render out a SDR / Rec709 Version, click on rec709 on Layer 5 and finish. But if you got the taste of HDR and you don't have an HDR grading monitor, than we have to change a lot. And now it's getting really complicated. To simplify it, we set Layer 5 to Rec.2020 ST2084 1000 nits, but we see a really flat image because this is a HDR image on a SDR Monitor. And exposure grad with Layer 4 is a bit to blind-grading. We need a Lut or something that shows us a better preview. I found a way for a nearly perfect HDR to SDR preview. I can't explained how it works, but it works "nearly". We have correct highlights and correct midtones but incorrect blacktones -> in the preview is nothing 100% black. Colors look a little bit different. But this is only a preview and not the final result.

What is the benefit to grading ACES to HDR first and later to SDR?
HDR has a much bigger dynamic Range, so you can show a lot more information from your Footage and the right contrast in HDR. If you use ACES to SDR you have not so much Dynamic range, but a correct contrast. Ok the HDR to SDR version is a Compromise, because it is "another version" of your Footage, but later more.

here are the settings I use:

Quote
[ ][X]Adjustment layer 8 - OpenColorIO
         Config. ACES 1.03   
         Input Space: Utility - Dolby PQ 48 nits Shaper - AP1
         Output Space: ACES - ACES - ACEScg
[X][ ]Adjustment layer 7 - OpenColorIO
         Config. ACES 1.03   
         Input Space: Utility - Rec.709 - Dysplay
         Output Space: ACES - ACES - ACEScg
[X][X]Adjustment layer 6 - OpenColorIO
         Config. ACES 1.03   
         Input Space: ACES - ACES - ACEScg
         Output Space: Output - Rec.2020 ST2084 (1000nits)
[ ][X]Adjustment layer 5 - Exposure set to 1,10
[X][X]Adjustment layer 4 - Exposure
[X][X]Adjustment layer 3 - OpenColorIO
         Config. ACES 1.03   
         Input Space: Input-ARRI - V3 Log-C EI1800 - wide Gamut    -> for 5D Mark II and 5D Mark III
         Output Space: Utility - Liniear - Adobe Wide Gamut RGB
[X][X]Adjustment layer 2 - OpenColorIO
         config. Cinelog-C   
         Input Space: Cinelog v3.0   
         Output Space: Alexa Wide Gamut V3 Log-C EI1800 with Film Matrix
[X][X]Adjustment layer 1 - OpenColorIO   
         Config. ACES 1.03   
         Input Space: ACES - ACES - ACEScg   
         Output Space: Utility - Rec.709 - Dysplay

For Rendering take the first line Setting and for "preview only" the second line. You can see the boxes symbolize the activated or not activated situation.
"[x ]" = activate the layer and [ ] = deactivate the layer


4. Davinci Resolve
We nee now to Analyzed the footage, because we need HDR-Metadata.

1. open a new Project
2. open Project Setting: In Color Management set Color science to ACEScc, ACES Input Device Transform to Rec.2020 ST2084 (1000nits), ACES Output Device Transform to Rec.2020 ST2084 (1000nits) and the last enable HDR10+ and Dolby Vision
-> You don't have to take ACES, but it's easy to use.

Important!:
Before you analyzed your Footage, you have to split your film into individual scenes, because it looks incorrect later if not. But don't worry it is easy. If you cut your Footage in Premiere Pro: click on Timeline click file/ Export/ and Export EDL file.
In Davinci Resolve: click on File/ click import Timeline and on your EDL File. Open the Timeline import your final Film above the Timeline and you can use the "razor blade" to cut where the cuts are. Don't worry davinci helps a lot click for the right one. the EDT Timeline you can delete it.
Another thing is: You need the correct resolution, no Blackbar for analysis.

3. After import your Footage and to the Timeline click on the Color tab (below) and click Color / HDR10+ / Analyze all shots and wait. -> so it will analyze MaxCLL and MaxFALL for every frame and for every shot.
4. Rendering: Depending on your DSL speed you can choose between like DNxHR and H.265 codec (or what you want). The important thing is to click on "Embed HDR10 Metadata" (Metadata is saved in videofile) and optional on "Export HDR10 Metadata" (only if you want see the file). In h265 you need to set Encoding Profile to Main10. The rest you can set what you want. Click Add to Render Queue and Start Render

(optional) You create also a HDR10 - file -> you can simlpy open with Editor. (on the last line on the right side you see the right information)


5. Color Grading in Davinci Resolve on a SDR Display
For a nealy ferfect SDR preview you need to analyzed your footage again, but this time with dolby vision and with your correct Display settings.
For me: rec709 and 100nits.
Now you can grade your HDR footage on a SDR Display. You can also analyzed only one frame. It is faster. But if you have some contrast changing in the scene, the previw is not correct. I recommendet to analyzed all. After Color-Grading you need to analyzed the last time with HDR10+, because of changing contrast...


At this point you can already upload your video to Youtube, but if you are not satisfied with your SDR result you can do the following..


6. create your own LUT for HDR to SDR conversion (Optional)

Dolby Vision Analyze (don't work with my PC -> I see a black scene)
Analyze your video with Dolby Vision and Roll off the highlights. And add it with the Metadata Tool to your video. In this way you must create a LUT for every new video.

In Davinci:
1. open a new Project
2. open Project Setting: In Color Management set Color science to DaVinci YRGB, Timeline Color Space to Rec.709 Gamma 2.4 and Enable Dolby Vision and set your grade.
3. Import your HDR video and in Timeline
4. Import the file "trim_lut0.dpx" and in Timeline (it is a Pattern for analyze your grade) in "C:\ProgramData\Blackmagic Design\DaVinci Resolve\Support" or simply find with click on Project Setting to Color Management and in Lookup Tables to Open LUT Folder and go back a folder.
5. Go to Color Tab (below), click on your video and on Dolby Vision Tab (left, next to Curves). Click Selected for Analyzed and wait. On this Point you can grade Result that you wish. If you finished: Left click on your video and right click on the Pattern and Apply Grade.
6. Go to Preject Setting, Color Management and below to Generate LUT from Analyzed Pattern, but in my case i only get a black picture (don't know why).

It is possible without analyzed, but it looks really good;)


7. HDR to SDR conversion and Youtube Metadata tool (Optional)
Link: https://github.com/youtubehdr/hdr_metadata

For Windows:
Download the Tool and save it to folder.

You can simlpy write your command in a Editor:

Here is a default Text that I used:

Quote
"Path to the Tool...\mkvmerge.exe" -o "path where you want to save\---.mov" --colour-matrix 0:9 --colour-range 0:1 --colour-transfer-characteristics 0:16 --colour-primaries 0:9 --max-content-light 0:?? --max-frame-light 0:?? --attachment-mime-type application/x-cube --attach-file "Path of your LUT\---.cube" "path where you video is\---.mov"

Replace the red text. In --max-content-light 0:?? set your MaxCLL (use integer) and in --max-frame-light 0:?? your MaxFALL (use integer) -> open your HDR10 file. (if you have click on Embed HDR Metadata you dont nee to set the MaxFALL and MaxCLL)

Copy this text in Command line tool, click Enter and finished;)

Now you can upload your file with your own HDR to SDR lut -> Youtube will make the rest.




I hope you enjoy this tutorial. For technical questions about ACES and HDR, ask Andy600.  ;D

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