So...after testing D-CInelike and 10bit color, I have looked into Media info...
SURPRISE !!!!

The RGB color range in D-Cine 10 bit...is....LIMITED !!! YES ! LIMITED!!!

What the hell, DJI? Even NANO+ have FULL RANGE COLORS !!!!!!!!!!!!

I wasn't understanding why the black is crushed in that ugly way in all footage....How not to be, when you use 16-235 LIMITED instead of 0-255 FULL RGB range?????

And the suckers so called "influencers" that "tested" it did not blowed any whistle about it...of course...negative things goes under carpet !

To those who do not understand, a simple explanation of what DJI did:


     If you’re using a PC monitor, then the difference between full and limited RGB has important implications for image quality. So the answer is a definite yes. The divergence has to do with the differing needs of monitors and TVs in the digital image processing age. Also, please keep in mind full or limited dynamic RGB ranges refer to degrees of light and dark intensity. They have no direct relation to bit color depth, and HDR works just fine with both.
FULL RGB: the scale has 255 levels. That means 0 represents absolute black on a display, while 255 stands for absolute white. Or darkest and brightest. In between are 253 shades, essentially. Full RGB means the ability to show 0-255, or the full range. That’s what PC monitors have been using for years. LIMITED RGB: has a range of 16-235. Its absolute black is 16 levels brighter (or less dark) than full RGB. By the same token, max white (or brightness) for limited RGB is 15 levels lower (less bright) than for full RGB.

PC monitors by default run the full RGB range. But if you leave it at that and then use the monitor to view limited RGB sources, you’ll get crushed black levels. In essence, the dark areas of the image will appear too dark and completely lacking in detail.

It seems you're really unhappy with the Mi3P, why not return it while you can?

Wiz33 Posted at 6-4 09:06
It seems you're really unhappy with the Mi3P, why not return it while you can?

You have something to say at the post or just comment at my choices where to spend my money?Add value if you have something to say or shut up.SIMPLE!

Man this much ado about nothing. 99% of all displays that your content will be watched on will be in RGB Limited.

Geo_Drone Posted at 6-4 09:10
You have something to say at the post or just comment at my choices where to spend my money?Add value if you have something to say or shut up.SIMPLE!

Being honest what you’re saying is nonsense, its something you continually bring up about every dji drone. I think whats happened is you read a book and you’re trying to match what you read with dji drones. You should quit comparing the Nano to the Mini 3. First off it costs €200 more than the Mini. It is very much a toy drone with a reasonably good Camera is capable of good footage we all know this but if you cannot fly it back the footage is no good to anyone.

There are many really good professionals out there that rate the Mini 3 very highly for both the drone and the Camera quality. And yes I expect dji will improve the camera as they and we learn more about it. But trying in your over aggressively posts to hammer home you know something about this does not work and serves little purpose.

For smart people here...to translate for you easy:

When you have LIMITED color range, instead of having black = 0, you have black = 16...so 16 shades of grey will get lost as they will become pure black !!!
Is clear now, David? I was expecting from you to understand what is the negative side of Limited range, as you are a semi-Pro.

While I do agree that DJI should be using full data range, 10-bit footage has 1024 values not the 256 values that 8-bit footage has. So it's 64-960 for video data levels rather than 0-1023 - it's nowhere near as substantial a loss of capability as you claim - there's still a lot of discreet values there compared to even full-range 8-bit footage.

Geo_Drone Posted at 6-4 10:23
For smart people here...to translate for you easy:

When you have LIMITED color range, instead of having black = 0, you have black = 16...so 16 shades of grey will get lost as they will become pure black !!!

I do understand, but its your understanding that’s wrong here.

color range of mini 3 videos is not RGB, it is yuv420p10le which i believe is a bit different interpretation than RGB.

Geo_Drone Posted at 6-4 09:10
You have something to say at the post or just comment at my choices where to spend my money?Add value if you have something to say or shut up.SIMPLE!

They do have a point though, it sounds like you're having "issues" with your MM3P, you certainly seem to prefer the Nano...

following...

sbonev Posted at 6-4 13:54
color range of mini 3 videos is not RGB, it is yuv420p10le which i believe is a bit different interpretation than RGB.
[view_image][Image]

Does not matter, as IRE is LIMITED.
To be more clear than clear:
1. The drone is filming in Limited range, meaning all interval of 0-16 and 235-255 is lost in details, as will be converted to just black and just white...so all super black and all super white is gone from recording. So details when recording after sunset will be crushed as you get a lot of super grey to black at that time.
2. As DaVinci knows to work with Limited, a lot of other editors will miss interpret it and put it as Full...this means that 16 becomes 0 again and you have a double crush on blacks and super whites. So pay attention to how is positioned your histogram in editor...if is not from 16, you will kill another details at editing.
3. Full range monitors when will display Limited range black, if you don't use proper player, will make same miss interpretation...will go to 0-255, giving you a crushed image on black and white.
The question is why DJI did not published this limited range???

The question is why DJI did not published this limited range???

I assume for the same reason they didn't say the gimbal cover is fiddly to put on, because why would they. Have they said it has 0-255 anywhere? If they have, then yes you have every right to be bemoan it falling short of your expectations in much the same way I would point an irked finger at marketing bumph that extolled the virtues of Easy Fit Gimbal Cover. However I can't find mention of it.

I think one of the main issues with this drone is the word PRO in its name. I suspect it's there more for marketing spin to cover off the substantial price jump. They've added bells and whistles to a sub 250g drone, not shaven weight off a flying RED.

Geo_Drone Posted at 6-4 20:38
Does not matter, as IRE is LIMITED.
To be more clear than clear:
1. The drone is filming in Limited range, meaning all interval of 0-16 and 235-255 is lost in details, as will be converted to just black and just white...so all super black and all super white is gone from recording. So details when recording after sunset will be crushed as you get a lot of super grey to black at that time.

For most all you’re posting is just a load of mush. So I suggest you post examples that folk can see and understand. Use the comparisons against the nano if you choose, but its true you’ve been banging on about this with almost every single dji drone released in the last few years but have failed in your attempt to actually show this a a real and genuine problem. Crushed blacks is something you continually regurgitate so maybe you can show just how disastrous this is going to be for all mini 3 users instead of aggressively posting stuff most cannot understand and all cannot see.

Geo_Drone Posted at 6-4 20:38
Does not matter, as IRE is LIMITED.
To be more clear than clear:
1. The drone is filming in Limited range, meaning all interval of 0-16 and 235-255 is lost in details, as will be converted to just black and just white...so all super black and all super white is gone from recording. So details when recording after sunset will be crushed as you get a lot of super grey to black at that time.

i would assume you still are confusing things YUV does not deal with 0-255 RGB, it is different interpretation. it could be you are not editing footage in 10 bit - here is the screenshot from adobe premiere to see the same video with 8-bit and 10-bit scope selected. So as you can see the range of the 10-bit is not from 0-255, but from 0-1023. So in this scope even if limited, i would venture to guess a small limitation is not of that big loss. So, are you sure you are editing 8 bit or 10 bit footage??? Cause it does seem the first thing you need to clarify. Unless you are just writing random stuff you read but didn't comprehend fully...


  

sbonev Posted at 6-5 00:42
i would assume you still are confusing things YUV does not deal with 0-255 RGB, it is different interpretation. it could be you are not editing footage in 10 bit - here is the screenshot from adobe premiere to see the same video with 8-bit and 10-bit scope selected. So as you can see the range of the 10-bit is not from 0-255, but from 0-1023. So in this scope even if limited, i would venture to guess a small limitation is not of that big loss. So, are you sure you are editing 8 bit or 10 bit footage??? Cause it does seem the first thing you need to clarify. Unless you are just writing random stuff you read but didn't comprehend fully...

I am editing. Just check the video with Media Info, will say the range you have.
As I told in previous comment, Premiere does not properly detect Limited. You need to set it manually, but hey, who is reading...
Main problem is not what your display present, but what the camera record, as I have also explained in previous comment.
Is an RGB sensor. Limited shades is cutting low darks and high whites. Simple.
You can also see it when you take a footage in night... The highlights from lights will blow, the shadows from dark areas will look without details and black.
Take a video and see for yourself, no need to take my word.
Cheers.

Geo_Drone Posted at 6-5 07:24
I am editing. Just check the video with Media Info, will say the range you have.
As I told in previous comment, Premiere does not properly detect Limited. You need to set it manually, but hey, who is reading...
Main problem is not what your display present, but what the camera record, as I have also explained in previous comment.

You have been asked to show us something, why not just do that?

Geo_Drone Posted at 6-5 07:24
I am editing. Just check the video with Media Info, will say the range you have.
As I told in previous comment, Premiere does not properly detect Limited. You need to set it manually, but hey, who is reading...
Main problem is not what your display present, but what the camera record, as I have also explained in previous comment.

It seems you don't read...
first you don't mention premiere at any other place...
second -did you even read what i wrote or you need more time processing it??!!!  color space is YUV 4:2:0 10bit, IT DEFERS TO THE RGB INTERPRETATION - are you sure in davinci you see the info correctly or it is converted or whatever. i would install it just to prove my point but i have better things to do at the moment???!!!
third - it is 10bit footage - it is not between 0 to 256 rgb,  but 0 - 1023!!!!

here is a screenshot from media info as it appears you don´t understand anything else. I would suggest to take something to relax and think things through again, perhaps you will understand it better:

sbonev Posted at 6-5 11:30
It seems you don't read...
first you don't mention premiere at any other place...
second -did you even read what i wrote or you need more time processing it??!!!  color space is YUV 4:2:0 10bit, IT DEFERS TO THE RGB INTERPRETATION - are you sure in davinci you see the info correctly or it is converted or whatever. i would install it just to prove my point but i have better things to do at the moment???!!!

1. The color space and 10 bit has nothing to do with COLOR RANGE (just changes from 16-235 to 64-940)! Read a little before writing.
2. Color range refers to the range of BLACK to WHITE. Limited was used in TV and cinema years ago, as HD screens was not capable of FULL RANGE decoding. This standard is not used anymore in modern TV UHD/monitors, as all monitors and TV's now have FULL RANGE.
3. Recording in LIMITED RANGE is simple:
- all shades from 0 to 16 are assimilated to BLACK, all highlights from 235 to 255 are assimilated to WHITE. (same for 10bit, just will be seen as 64-940).
- all deep darks and all high whites will have all details CUT as the range does not cover it.

What you show me in Resolve is NOT limited or full range as this has NOTHING TO DO WITH 10bit or 8bit colors !!! (is third time i say it), but what is written even in your picture: Color range: LIMITED. Also if you do not check your RANGE manually in YUV color space and put LIMITED, you will have a real issue at editing, as you edit a limited range with a supposition that is Full, meaning you cut again from black and white !!!!
HAVE I MENTIONED THAT IT KILLS DNR AND DETAILS ??? As the DR is given by the darkest tone where texture cannot be seen anymore...and this is +16.... Same as White, as is 235 instead of 255. (64-940 is same shxt for 10 bit).

AND DOES NOT MATTER IF YOU ARE IN YUV OR RGB COLOR SPACE (YES IS CALLED COLOR SPACE THIS !), THE RANGE IS THE SAME AT BOTH, LIMITED OR FULL (in this case LIMITED).
PS. Did you know that some video cards when are set to FULL will downsample in order to match the video feed? So better check if in editing your DaVinci did not already interpreted this as Limited already so you can see histo from 0, but is recalibrated already for limited!
PPS: I have seen now the media info from Resolve....was recalibrated as I have written in PS...

Geo_Drone Posted at 6-5 22:29
1. The color space and 10 bit has nothing to do with COLOR RANGE (just changes from 16-235 to 64-940)! Read a little before writing.
2. Color range refers to the range of BLACK to WHITE. Limited was used in TV and cinema years ago, as HD screens was not capable of FULL RANGE decoding. This standard is not used anymore in modern TV UHD/monitors, as all monitors and TV's now have FULL RANGE.
3. Recording in LIMITED RANGE is simple:

I find this thread very interesting.
I have made a YT video with my impressions about footage with the Mini 3 Pro (edited with Premiere Pro) and I was very surprised to see how badly the shadows are crushed, to the point that low light footage is practically not usable. This video stirred quite a lot of controversy, unlike most of my other videos.
On the other hand, I did not find any issues with the shadows in Photography, apart from the 48MP files that have gigantic chromatic noise in the shadows in situations of high dynamic range:

Justin Case 7 Posted at 6-7 02:40
I find this thread very interesting.
I have made a YT video with my impressions about footage with the Mini 3 Pro (edited with Premiere Pro) and I was very surprised to see how badly the shadows are crushed, to the point that low light footage is practically not usable. This video stirred quite a lot of controversy, unlike most of my other videos.
On the other hand, I did not find any issues with the shadows in Photography, apart from the 48MP files that have gigantic chromatic noise in the shadows in situations of high dynamic range: https://youtu.be/M937rQdR2G0https://youtu.be/h9at--uRebo

Because of what I have explained. Limited range in Premiere will be treated as FULL if is not set manually LIMITED....practically your Histogram should get 16-235, but if does not recognize (and it does not in Premiere) the Limited range, it pushes 16 to 0...so you have an already crushed black from drone recording, that makes all 0-16 = BLACK, and again Premiere will push the new 16 (meaning 32) to Black, crushing second time the shadows.

You need to change Color range manually to LImited in Premiere, in order to have the proper dark shadows and not crush it again.
I really hope DJI will correct this issue, as all sensors these days have Full range GAMMA.

Geo_Drone Posted at 6-7 06:12
Because of what I have explained. Limited range in Premiere will be treated as FULL if is not set manually LIMITED....practically your Histogram should get 16-235, but if does not recognize (and it does not in Premiere) the Limited range, it pushes 16 to 0...so you have an already crushed black from drone recording, that makes all 0-16 = BLACK, and again Premiere will push the new 16 (meaning 32) to Black, crushing second time the shadows.

You need to change Color range manually to LImited in Premiere, in order to have the proper dark shadows and not crush it again.

Many thanks,
this is very useful. I will try it immediately

Geo_Drone Posted at 6-7 06:12
Because of what I have explained. Limited range in Premiere will be treated as FULL if is not set manually LIMITED....practically your Histogram should get 16-235, but if does not recognize (and it does not in Premiere) the Limited range, it pushes 16 to 0...so you have an already crushed black from drone recording, that makes all 0-16 = BLACK, and again Premiere will push the new 16 (meaning 32) to Black, crushing second time the shadows.

You need to change Color range manually to LImited in Premiere, in order to have the proper dark shadows and not crush it again.

I had already felt the same as you in the black and white tones, especially compared to my Mavic 2 Pro.

Excuse my ignorance but would it be the same as saying that the camera's setting is LIMITING (and
consequently the software is confused in automatic mode) the GAMMA spectrum?

T-Zero Posted at 6-7 07:01
I had already felt the same as you in the black and white tones, especially compared to my Mavic 2 Pro.

Excuse my ignorance but would it be the same as saying that the camera's setting is LIMITING (and

You need to manually set Color Range to Limited in order to get it right.
Also if your monitor is in Full, put it to Limited also...some Nvidia just put it automatically in Limited, but only if is Hdmi connected and detects properly from player the Limited Range.
Is stupid to do this, as all of us I believe that we have all set to Full range gamma... But let's hope DJI will correct it in firmware update, the sensor for sure supports Full Gamma, but is limited by DJI.

Any news regarding this issue?

oberschneider.com Posted at 7-6 20:07
Any news regarding this issue?

unfortunately not, probably will remain handicapped with Limited...

Geo_Drone Posted at 7-6 22:13
unfortunately not, probably will remain handicapped with Limited...

Hey Geo / Guys,

     I did some testing last night and since I shoot in HLG , I did this testing with the drones I have that are able to shoot HDR10 bit HLG. I checked Mavic 2 Pro, Mavic Air 2S, Mavic 3 and all of these drones shoot HLG in limited RGB range. When it comes to D-Log, that might be in full color range, but could not verify it as it is not specified explicitly in MediaInfo. The above testing I did using H.265 codec. When it comes to ProRes on Mavic 3, that might be in full range and it's 4:2:2 (need to double check the range for that) vs 4:2:0 in H.265. Also wanted to mention that limited color range has been there since Mavic 2 Pro introduction with HLG and it does not seem that anyone reported any adverse effects from it, with good exposure, HLG has yielded great dynamic range and it does not seem that anyone reported shadows being too dark or vise verse any issues with highlights missing details dynamic range or missing details in shadows or highlights due the range being limited. Imho what you are observing might be related to newly introduced camera sensor with Mini 3 Pro and new color profile D-Cinelike 10 bit, maybe this will mature with new firmware as DJI keeps pushing more updates and video quality would get better overtime. Just wanted to share my 2 cents on it as I just received my Mini 3 Pro and started testing it...

Thanks, Mike.

Mzp Posted at 7-7 10:21
Hey Geo / Guys,

     I did some testing last night and since I shoot in HLG , I did this testing with the drones I have that are able to shoot HDR10 bit HLG. I checked Mavic 2 Pro, Mavic Air 2S, Mavic 3 and all of these drones shoot HLG in limited RGB range. When it comes to D-Log, that might be in full color range, but could not verify it as it is not specified explicitly in MediaInfo. The above testing I did using H.265 codec. When it comes to ProRes on Mavic 3, that might be in full range and it's 4:2:2 (need to double check the range for that) vs 4:2:0 in H.265. Also wanted to mention that limited color range has been there since Mavic 2 Pro introduction with HLG and it does not seem that anyone reported any adverse effects from it, with good exposure, HLG has yielded great dynamic range and it does not seem that anyone reported shadows being too dark or vise verse any issues with highlights missing details dynamic range or missing details in shadows or highlights due the range being limited. Imho what you are observing might be related to newly introduced camera sensor with Mini 3 Pro and new color profile D-Cinelike 10 bit, maybe this will mature with new firmware as DJI keeps pushing more updates and video quality would get better overtime. Just wanted to share my 2 cents on it as I just received my Mini 3 Pro and started testing it...

Thanks Mike,

unfortunately when you have a powerful light in night, you will see what I am talking about.
You will get even in HLG (actually will make things worst as is boosting only from middle to highlights (HLG profile specifics) a crush in darks and a blown all lights that are more powerful = goes in Specular area, instead to remain in Light-Highlight area in histogram.
I work with 2 brands now, the biggest DR is on Evo2Pro in HDR+LOG profile where is crazy....but can salvage a lot....in Mavic 3 is not enough, in Mini3 is less than less...
So...depends on what you do with it...but for small semi-pro works will not be enough.

Geo_Drone Posted at 7-7 23:10
Thanks Mike,

unfortunately when you have a powerful light in night, you will see what I am talking about.

Thank you for detailed info bud. I am yet to try shooting at night, have never tried it. I wonder if this has something to do with moonlight algorithm that Evo 2 Pro has allowing to capture / differentiate between high brightness sources of light and allowing to capture higher luminosity light sources. I am very pleased with Mavic 3 shooting in daylight and evenings. I wonder if it has anything to do with the ISO being used when you shoot in Log profile. I think when you shoot in D-Log or A-Log the drone would shoot in dual ISO (even if you select ISO as 200 for example). I think the drone would alternate between what you choose , i.e. 200 ISO and let's say 400 ISO, which would allow it to capture both deep shadows and bright highlights. I think this secondary ISO is not user selectable, wonder if Autel is doing something different than DJI with their Moonlight algorithm. I am yet to try shooting at night, curious how it would come out. BTW what is your impression on Mavic 3, do you think it shoots full color range in D-log, I tried to check that using MediaInfo, but did not see the RGB range mentioned anywhere... Also wante to ask you if you tried to lower EV on Mavic 3 if that could help to capture and differentiate higher brightness light sources. Also I checked Mavic 3 max brightness of the footage stored in the video is about 700 nits, wanted to ask you if you got a chance to check the max brightness that Autel is able to store...

Thanks, Mike.

Mzp Posted at 7-8 06:30
Thank you for detailed info bud. I am yet to try shooting at night, have never tried it. I wonder if this has something to do with moonlight algorithm that Evo 2 Pro has allowing to capture / differentiate between high brightness sources of light and allowing to capture higher luminosity light sources. I am very pleased with Mavic 3 shooting in daylight and evenings. I wonder if it has anything to do with the ISO being used when you shoot in Log profile. I think when you shoot in D-Log or A-Log the drone would shoot in dual ISO (even if you select ISO as 200 for example). I think the drone would alternate between what you choose , i.e. 200 ISO and let's say 400 ISO, which would allow it to capture both deep shadows and bright highlights. I think this secondary ISO is not user selectable, wonder if Autel is doing something different than DJI with their Moonlight algorithm. I am yet to try shooting at night, curious how it would come out. BTW what is your impression on Mavic 3, do you think it shoots full color range in D-log, I tried to check that using MediaInfo, but did not see the RGB range mentioned anywhere... Also wante to ask you if you tried to lower EV on Mavic 3 if that could help to capture and differentiate higher brightness light sources. Also I checked Mavic 3 max brightness of the footage stored in the video is about 700 nits, wanted to ask you if you got a chance to check the max brightness that Autel is able to store...

Thanks, Mike.

Hi,
Is not about nits retained, as camera acts a little different than display.
A camera can retain a spectrum that is related to the gamma range and DR...Cannot say that a camera can retain 10.000 nits, as is not right.
Dual iso is not needed, as if you have a proper LOG, a lot of info is there...dual ISO if is not a very powerful camera will ghost, see Mini3 in night...

Geo_Drone Posted at 7-9 08:12
Hi,
Is not about nits retained, as camera acts a little different than display.
A camera can retain a spectrum that is related to the gamma range and DR...Cannot say that a camera can retain 10.000 nits, as is not right.

Hey Geo,

  I get your point on the DR of the camera , i.e. how many stops it can capture, i.e. 12 or 12.8 stops of DR on Mavic 3 and how it chooses to represent it when storing in D-log or HLG 10 bit container. I think this is something that is not discussed often, but different cameras have different minimum and maximum brightness  stored when it comes to recording HDR. This also can be seen in meta data of an HDR file, it would show min and max brightness a particular camera sensor would store. I think DJI captures 0 from 700 cd/m2 and Autel from 0 to approx. 400-500 cd/m2. The reason I care about this (I think most people don't) is I am having trouble to have Davinci Resolve correctly render HDR video at different nits than what the camera captures. I am trying to render Mavic 3 700 nits captures by camera into 1000 nits, I check the option in Resolve to render at 1000 nits, but still the brightest objects in the video are capped at 700 nits when the file is rendered in HLG.
     I actually thought D-log color profile is always dual iso, i.e. the base ISO is selectable by user, i.e. 100
and there is a secondary ISO that the camera uses that user does not select / see. I actually read about it, but I might be wrong. I know some of the very best Sony camera have dual ISO and capture great quality DR by having smart algorithms that end up with very little noise. I think Mini 3 Pro has explicitly advertised dual ISO when shooting D-Cinielike at up to 30 fps, but heard it might be too noisy, just got my M3P, yet to try it...

Thanks, Mike.

Mzp Posted at 7-9 09:58
Hey Geo,

  I get your point on the DR of the camera , i.e. how many stops it can capture, i.e. 12 or 12.8 stops of DR on Mavic 3 and how it chooses to represent it when storing in D-log or HLG 10 bit container. I think this is something that is not discussed often, but different cameras have different minimum and maximum brightness  stored when it comes to recording HDR. This also can be seen in meta data of an HDR file, it would show min and max brightness a particular camera sensor would store. I think DJI captures 0 from 700 cd/m2 and Autel from 0 to approx. 400-500 cd/m2. The reason I care about this (I think most people don't) is I am having trouble to have Davinci Resolve correctly render HDR video at different nits than what the camera captures. I am trying to render Mavic 3 700 nits captures by camera into 1000 nits, I check the option in Resolve to render at 1000 nits, but still the brightest objects in the video are capped at 700 nits when the file is rendered in HLG.

Hi Mike,

Will try to explain in order to understand even ones less advanced in HDR notions, as maybe they are interested in this too:
1. HDR is not having Dual ISO, is one pass but with maximum DR capability. A HDR will be able to gain 10.000 nits details if is properly calibrated, without any problems. Also LOG is a native format that does not have dual, just single pass. (not talking about Mini 3, that does not have Dual Iso but a joke).
2. Resolve can deal with 10.000 nits even at Mavic 3 in LOG (have not tried HLG as I told you, HLG for me is a hybrid that is useless, I use only LOG/HDR), but you must:
- set your footage in Resolve in proper Profile, Wide Gamut at least, preferable REC2020.
- Do not forget in HDR editing tool to also check interpretation of footage to be also REC2020/ST, or will crush the nits at under 1000, even if you have the profile at beginning set at REC2020 or ST.
I have a 4000 nits monitor and can see the details in ultra highlights at Evo2Pro, but Mini 3 is cutting the details as is missing enough DR to get it...Mavic 3 have enough DR to deal with highlights in LOG, but is not as good as E2P unfortunately.
When you save it, you need to use also a profile that is HDR enabled in order to preserve the details over 1000 nits, or will just become pure white....still, thinking at clients, they will watch it in 500-700 nits, maybe close to 800 nits in HDR mode at a good TV, so be careful where you point it (I doubt you will have clients that pay 4000 USD for a more than 2000 nits hardware).
You can compress the over 1000 nits in order to gain that details from ultra highlights under 1000 nits, but must be done by working with 3 tabs in Resolve: Lights, Highlights, Specular lights...use the parameters that defines the areas for each of this and start by recalibrating Specular, take them to 1000 nits, then Highlights, overlap it a little with Specular in order not to have broken gamma, then at end Lights, need to cover a part of High range, same, to not have broken gamma.
It will not work in this case to use a gamma curve, as it will not be so precise like the tabs that defines the areas for Black-Shadows-Lights-High-Spec. and will probably just cut the details.
Do not touch in this case the controls from REC709, will crush instantly the image.
Also do not go to general button to increase/decrease gamma.

Remember also the basic steps:
1. Recalibrate WB at first.
2. Calibrate the D-S-L-H-S as told in order to regain the details in your nits target
3. At end will remake any color correction, as any color correction at beginning will get you a strong headache.
4. REC2020 and HDR profiles are hard to be edited in a single monitor...all persons that did not worked in HDR for 1 year will need a second monitor as "check monitor" to see "live" the final result...I can edit now at 1 monitor just by using the histograms, but even so, 1 of 10 direct HDR edits will be a fail and need to go back...I do it only if is a time pressure and my team needs the 4000 nits monitor, as I have only one (damn expensive this monitors, hope to lower price this year).

Geo_Drone Posted at 7-11 05:07
Hi Mike,

Will try to explain in order to understand even ones less advanced in HDR notions, as maybe they are interested in this too:

Thank you for this detailed guide Geo, really appreciate it! If I could add more than 1 Upvote , I would have, but I can only do one I will try your suggestions in Davinci Resolve to see if I could get my footage render correctly in HDR and at different nits. Thanks again for all your help!

Best Regards, Mike.

Mzp Posted at 7-11 06:39
Thank you for this detailed guide Geo, really appreciate it! If I could add more than 1 Upvote , I would have, but I can only do one  I will try your suggestions in Davinci Resolve to see if I could get my footage render correctly in HDR and at different nits. Thanks again for all your help!

Best Regards, Mike.

Glad to help in free time Mike.
Good luck, do not forget that Youtube will take a while to process it in HDR mode after you upload it...until then will be only HD.
Also I have forgot to tell you an important thing:
Youtube is making a compression again, making dark parts more black, I have seen that all shades of dark up to 10% will be crushed by Youtube into pure black....so if you will edit for Youtube, keep your blacks above 0, do not approach to 0 as will collapse at reconversion.

Geo_Drone Posted at 7-14 03:17
Glad to help in free time Mike.
Good luck, do not forget that Youtube will take a while to process it in HDR mode after you upload it...until then will be only HD.
Also I have forgot to tell you an important thing:

Thank you Geo. Yes I am aware of Youtube taking long time to process HDR video. I think it can take even longer than an hour to process from SD->HD->HDR. I did not know Youtube compresses dark / black this way, good to know to give it a little bump so it doesn't get compresses. Wanted to ask you a question on HLG / D-Log / A-Log shooting, I think you mentioned you align to the right of the histogram to prevent overexposure. I use ND filters during the day, i.e. ND32 when it's bright and I normally shoot at -0.3 to -1.3   manual exposure. I do this so I can capture overly bright, shinny objects such as reflection of a sun on white car roof, white house roofs, white water ripples. Wanted to ask you what you meant by aligning to the right. I normally end up with a --0.3-1.3 on exposure (I understand this is subjective and can be different on different lighting conditions) , but my shadows end up being a bit dark even though I end up with virtually no overexposure on the specular or highlights. I then just raise the shadows a little in Davinci Resolve and do some denoising which gets me a decent result. I also often have to raise mid-tones as well. My histogram normally goes up on the left in the shadows and mid tones and goes down in the highlights area. Wanted to ask you for your opinion on this.

Thanks in advance, Mike.

You don't know what you are talking about.

Luca Rubino Posted at 7-14 09:59
You don't know what you are talking about.

That is a great comment there LR. I find it especially helpful as I realized now that I don't know what I am talking about. Thank you for this great help and value you add to the forum. I am also glad that you imply that you do know what you are talking about. But anyways great comment. If there were more people like you, people in the forum would be very encouraged to ask questions and expressed their point of view. Anyways thank you for your comment, it at least tells me that I am not understanding what I am talking about and should do some researching so seeing something positive here.

Luca Rubino Posted at 7-14 09:59
You don't know what you are talking about.

Care to enlighten us?

Mzp Posted at 7-14 06:03
Thank you Geo. Yes I am aware of Youtube taking long time to process HDR video. I think it can take even longer than an hour to process from SD->HD->HDR. I did not know Youtube compresses dark / black this way, good to know to give it a little bump so it doesn't get compresses. Wanted to ask you a question on HLG / D-Log / A-Log shooting, I think you mentioned you align to the right of the histogram to prevent overexposure. I use ND filters during the day, i.e. ND32 when it's bright and I normally shoot at -0.3 to -1.3   manual exposure. I do this so I can capture overly bright, shinny objects such as reflection of a sun on white car roof, white house roofs, white water ripples. Wanted to ask you what you meant by aligning to the right. I normally end up with a --0.3-1.3 on exposure (I understand this is subjective and can be different on different lighting conditions) , but my shadows end up being a bit dark even though I end up with virtually no overexposure on the specular or highlights. I then just raise the shadows a little in Davinci Resolve and do some denoising which gets me a decent result. I also often have to raise mid-tones as well. My histogram normally goes up on the left in the shadows and mid tones and goes down in the highlights area. Wanted to ask you for your opinion on this.

Thanks in advance, Mike.

In any photo or video you need to be careful at underexpose or overexpose.
Remember that your eyes have a DR superior to any camera...

Now...
In NORMAL mode, is pretty simple....you need to be careful at underexposure, as the tendency is to underexpose an image and get improper crushed shadows. So you watch the histogram but pay attention at left of it, in darks part.
Also remember to "see" what you have as image and what is on histo...if you have darks in picture, close to black, set AF/AP/SS in order to have that blacks in left part of histogram, darker tones seen in reality by your eyes meaning histo on left, but careful. A good start would be to overexpose a little, see how histogram looks (you can see the spikes of darks and whites containing info), then use the scroll wheel on right of new RC to lower the SS until histogram is aligned to left, but without getting the "spike" of data over the left wall of histogram, as you will loose the shadow details.

In LOG mode, the sensor will increase the tonality of darks, so you will not be worried so much about shadows, but about highlights, as they increase too and will go from Highlight to Specular (loosing details)...This is why the process is reversed....you need to under-expose in order to see where is the spike of data on highlights, than slowly increase the light (modify SS/ISO as needed) but without crushing the highlights data in the RIGHT wall of histogram, as that is overexposing.
Also if do not use a LUT , you need to make at begining (in Resolve for example) some adjustments:
1. Recalibrate WB
2. Recalibrate the Blacks and Whites by using the curve line (move black point to White until where you see the Spike of data begin, move the White point on left until spike of white data ends...- if is needed, will make a small tutorial, but I think are many tutorials already on youtube on how to edit LOG without Lut), so will not go into many details.
3. Work with contrast by using curves editing, then edit colors as you like.
4. Need to say that DeNOISE needs to be made BEFORE any other work, as if you do it after, your noise pattern will be wrong and denoise cannot process it correctly...so, if you have night footage, before you touch any buttons, just denoise it.

Now...D-Cinelike...that is a semi-pro semi-log...or a hybrid...how every one calls it, does not matter. What you need to pay attention here is the right part of histogram as highlight will be increased and you can easy overexpose...but...as the D-Cine curve is normal from black to lights and increasing from lights to specular (non linear curve), you also need to be careful not to crush the blacks.
Editing is like LOG profile, but simpler, as D-Cine is pretty close to Normal profile but with 10bit color profile...(I made a 3D LUT for MIni 3 D-Cine for free, posted in this Forum).

Remember all time that your eyes have larger Dynamic Range than any camera, also the display you look at when you record or make pictures is influenced by the nits that is capable, by the light of environment, sun, and so on....so histogram is your best friend...Try to learn how to "see" the image in front of you as a histogram, where is the spike of Darks and the spike of Whites...

I give you two examples from random free images from internet...One was made with alignment of darks on left, as you can see the Shadows have all info needed in order to compose it nicely, the other one needed alignment on the right as the image have a majority of info on light-highlight-specular and could go very easy overexposed... Both are nice calibrated and well balanced from gamma point of view.
Imagine you will look the histogram on each of this 2 pictures, upload it in Lightroom or any other program and see if you get it right....

Geo_Drone Posted at 7-14 23:46
In any photo or video you need to be careful at underexpose or overexpose.
Remember that your eyes have a DR superior to any camera...

Higlights increased when shooting LOG?
Isn't it the opposite?
In a flat mode, shadows are increased, higlights are lowered.