Geo_Drone
 Second Officer
Flight distance : 2676129 ft
Romania
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Morotezuki Posted at 11-9 05:15
Bravo my man, you gave a university lecture level of explanation here! I wish I can thank you for your time writing this. This explains a lot!! I got a couple additional questions for you.
1. I've decided to not go HDR, however in order to still use the 10 bit color of Mavic 3, would Rec.709 still be a good color space to edit in? Premieres detects Mavic 3 HLG footage as Rec.2100.
1. The color can be preserved in full 10bit only in a 10bit profile. Resolve have a hybrid profile that allows you to use Wide Gamut, but is not usable if your TV is not HLG compatible.
In order to get max from Mavic 3, you can use REC2100 (HLG) without checking HDR metadata, practically you get into a "HDR like" mode that is HLG, but will also get some HUE shift (on LG TV I have seen that is minimal and is HLG compatible at a LED from 3 years ago, I cannot say about others as I never tested on Samsung and so on).
So, to answer your question:
- if you want to preserve 10bit, need to export 10bit, meaning R2100 HLG. HUE shift will vary from decoder to decoder. You cannot save 10bit color in Rec709 as it will be treated by most decoders as 8bit...
- If you want to edit 10bit in order to benefit of full power of it, but convert at the end in Rec709 (like all movies does), then you can go to HLG fist, edit all, than can use the Color Space Convertor from DaVinci and export as R709...
After all, the thing important here is that you get 10 bit editing in order to have that 10 bit color spectrum to control and at end you will not necessarily need 10bit colors but that 8bit that will look movie-like and is enough for a very nice movie. Of course, HDR movie will look a lot better, but HDR editing is not easy, also without HDR container is like chasing ducks with a canon-ball.
One more thing: DJI does not have Full range 0-255 RGB...and:
- The Dynamic range is lower with around 15% as DR is calculated as texture visible from the lowest point to the highest one, and because is 16-235 instead of 0-255, you should be aware that in HDR mode you will have crushed blacks and overexposed whites, as Premiere does not detect Limited RGB versus Full RGB all time. You need to define manually as limited range RGB, or Premiere will treat 16 as 0 and will lower the darks once, then you will use histogram to align the darks to 0 again and you double crush it....putting it manually in Limited range RGB when you make a New Project will solve this. Also make sure your monitor is Limited Range, or you will not see what will be on a TV for example.
2. HLG vs D-LOG vs Pro-Res.
Well, in order to answer this, is needed to explain you how they form the image...is a long story, from color coding, curves, encoding blocks and so on...to resume at basic:
HLG is basically the D-LOG, but imagine that you edit the Luma curve and boost the light....
- Log basically boost the light in all range from 0 to 255, that means that darks, middle and highlights get same amount of boost. In Mavic 3 D-Log will be not so nice, because is boosting the darks from 0 and as you remember, Mavic 3 have a Limited RGB, meaning that in LOG you will see that lower shadows practically have no texture as 0-16 RGB contains no info but is considered Pure Black and is getting this boost that make it grey but without any data...that part being boosted, will look creepy and in edit you need to lower it back down to 0, so no benefit from Log here. So when you use LOG, need to do 2 things:
A. Align Hystogram to right, in order not to get blown highlights
B. Correct using a S shape in curves in order to lower the shadows until you get that 0 info back to Pure Black.
- HLG - or Hybrid Log Gama...Is like LOG, but not linear, meaning is boosting the light from middle to highlights (remember I keep this explain basic, is not boosting light, but is easy to explain it to you as what you "see"). So you will manage to get a bigger DR in upper part, meaning that darks and shadows remains where should be, but information related to highlights is better preserved (if you film in HLG and appears overexposed, you will be able to lower highlights and regain some data back).
This is why HLG in Mavic 3 will look better than LOG, as is not "boosting" areas where is no data. Also is easier to edit.
The colors remains the same, 10 bit profile, but HLG will have colors appropriate to REC709, LOG have colors encoded and you need a little saturation to be added back. (sometimes HLG profile is oversaturated and you even need to get saturation 3-5% lower as from 100% to 95%).
So between LOG and HLG, in this particular case, is better HLG for Mavic 3.
In rest, at better cameras, LOG is exceeding HLG as you can work also with darks that contains information and DR is greater.
H264 vs H265 vs ProRes.
H264 is good...blocks for encoding are bigger so decoding is made easier and works in all computers...think at the screen that is split in small areas...this are blocks...encoding is taking one block and if nothing is changed, will set a sequence to repeat that block from the Primary block...this is called Key Frame. Still, at 4K resolution, H264 will make very small artifacts, as this blocks are bigger and sometimes can be seen.
H265 is optimized for 4K and 8K, the blocks are grouped differently and smaller than H264. This gives you a nice crisp image that is also compressed enough. As encoding is very powerful, you need a better computer to encode-decode, Resolve mainly is using the GPU from video card that is powerful enough, Premiere is mainly using CPU...This is why you will see users that edit faster in one of programs, depends of CPU and/or GPU they have used. (Live edit can be made on I5 or AMD medium computers if you do not use 32/64 effects and also do not put Optical Flow...if you do...well...you will need a 4x Xeon CPU blade with 12 processors each = 48 total cores and a Quattro video card to edit live as encoding-decoding power).
ProRes is uncompressed format...from my point of view is just a marketing thing, as there is no visible difference between Prores and H265...on contrary, ProRes will get more noise, as the compression in H265 will slightly reduce also noise pattern. Main advantage in ProRes is speed of editing, but same thing you get also if convert H265 in DNxHR format. Some people say that 422 from Prores is superior to 420 from H265 in color editing, personally I have seen that is supporting same push in color grading.
So:
- For personal videos use H264, is easier and edits faster. If you have night footage, go to H265 as the darks in H264 will degrade faster and you will see "blocks".
- For work use H265 as will give you enough limits to "save the day" in case you make a small mistake.
- For cinematography and stupid clients, feel free to use ProRes, will not help but will get their EGO in place.
Hope not to be too expanded in explanations  ))))
Cheers |
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