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15th July 2024, 06:06 | #501 | Link | |
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Got the latest build & then I had to get the connector, so I will see what that does for me.
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15th July 2024, 06:58 | #502 | Link | |
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To use the classic version of Voukoder, two components must be installed: The Voukoder application and The connector plug-in that connects Voukoder to your favorite NLE. 1. Install the main Voukoder application. 2. Extract the contents of the file "resolve-connector-x.xx.x.zip" to: C:\ProgramData\Blackmagic Design\DaVinci Resolve\Support\IOPlugins 3. If the "IOPlugin" directory does not exist, create it. 4. Done Settings: Selection options ProRes 4222 HQ, 4444 HQ and 4444 XQ In the audio section, select the Uncompressed PCM codec, as if different, StaxRip can block in the Demux audio section. Selection container mov.
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my PC with Ryzen 7950X Last edited by DMD; 15th July 2024 at 07:18. Reason: Spelling correction |
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15th July 2024, 07:59 | #503 | Link | |
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I'm curious that a YUV (10bit 4:2:0) isn't displayed, there's only YUV (High Bit Depth) I've delivered one at both settings and the 8 bit is a larger file size that the high bit.. A lot more trial & error, and thanks again for your help
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17th July 2024, 13:31 | #504 | Link | |
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Can I obtain a 400, 600 or 1,000 nit tonemap from the 10k nit original with your scripts or from your drive? This way I can compare between them and check. I'm not sure, but I have the impression that low nit videos, such as 400 to 600 nits watch darker than a 4k or 6k nit. Yes, i know they should watch similarly, but I'd like to check up. However, a 400 to 1,000 up tonemapping would make sense because it would benefit from the full capacity of my tv. Otherwise, 600 nits would be wasted IMHO. Fair enough, bringing up brightness with Resolve might change the grade already, but there must be a way of doing it 'transparently', or 'non destructively'. I.e: when I use brightness or peak brightness control on my tv, the image doesn't change much per se, it remains largely the same. It is a similar process to watching SDR: it is mapped to the tv capacity and blacks remain anchored. I think tonemapping algorithms are for down-tonemapping mostly, because you must make concessions and priorities. For up-tonemapping, it is a matter of scaling up brightness, nothing is lost. By the way, I wonder how they grade movies at 10,000 nits: they must use sunglasses because for one, mastering monitors of that capacity must be extremely expensive, and who can watch luminance that high? I presume these are up-tonemapped for mastering. For example: have a look at this 3-minute 200 Mb (no Dolby Vision, just HDR10) clip extracted from a download of a 2023 30th Anniv. HDR10 remaster of The Fugitive (1993) film. It has a maxCLL of 5,800 nits and average of 1,500 nits. Since it comes from celulloid, it is impossible the negative had luminance this high: it must have been up-tonemapped. The whole movie has a maxCLL of 6,800 nits, so a mastering monitor of at least that much must have been used, if not much less and then up-mapped. plot clip Last edited by wyup; 17th July 2024 at 14:30. |
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17th July 2024, 15:15 | #505 | Link | ||
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Dolby CM_offline has the same prores slow performance bug as CM_analyze so it is much faster to do it in resolve and you have more target options.
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18th July 2024, 07:16 | #506 | Link |
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Sorry for my forgetfulness, but when using 8-1-3 either DD+ or THD, I am getting a 7.1 from the original 5.1 ac3.
Is there a setting to NOT convert to 7.1 ??? I was looking around the other day, and couldn't find any relevant settings, or is it a DEE thing ??
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18th July 2024, 11:46 | #507 | Link |
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the dee workflow is just for 7.1 audio. No point using it for 5.1, use 8-1-1
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20th July 2024, 13:48 | #510 | Link |
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You do that the same way as when you inject/resync DV from WEB with workflow (1-1).
https://www.youtube.com/watch?v=hVWZpat34oc
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20th July 2024, 14:35 | #511 | Link | |
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23rd July 2024, 20:37 | #512 | Link |
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If I have:
- an HDR10-only disc - a retail P5-RPU (cmv2.9) - a CM_Analyze generated RPU (cmv4.0) Is there any value in running workflow 1-1 with the HDR10 base layer, and the retail P5-RPU (cmv2.9). Then running the resulting file (HDR10 base with retail P5-RPU) through 1-1 again, this time with the CM_Analyze generated RPU (cmv4.0) to get the colorists trims from the retail P5 plus the cmv4.0 metadata from the CM_Analyze? |
23rd July 2024, 21:28 | #513 | Link | |
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The workflow to transfer metadata levels from one rpu to another is 2-6 (and now 2-3 in upcoming 2.0.9) but you cannot transfer levels from RPUs that were created from difference analysis. The Dolby 2.9 and 4.0 calculate the metadata quite differently. See this comparison You can only transfer levels when both RPU comes 100% from the same DV analysis.
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23rd July 2024, 22:16 | #514 | Link | ||
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I realize that the answer to this question probably depends on the type of TV you have, but is there a general rule as to what is better? cmv2.9 with custom trims, or generated cmv4.0 with no trims? |
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23rd July 2024, 22:25 | #515 | Link |
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The only times you could replace a retail RPU by a cmv4.0 generated rpu are:
1- cmv2.9 rpu without any trims 2- a rpu with static L1/L2. (static L1 + dynamic L2 is fine) 3- if the hybrid sources are not the same grade 4- On some rare occasions, when I think the retail rpu doesn't make sense like in ''Risky Business 1983'' 5- If you don't have a FEL capable device and fel expand the brightness, I guess its fine to generate DV for the HDR10 BL brightness.
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25th July 2024, 06:42 | #516 | Link |
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Hi Kuler,
I have been using the latest 2.0.9 beta, and using Workflow 3 to create a "Dovi" of PotC clip. I used 3-1 7 (4000/P3), and 3-1 20 (1000/P3) & 3-2 (no other options), and using both the new & old mp4 muxers. And I cannot tell any difference between any of them, and both the muxers work with my new LG C4. Not sure if there will be any difference in encoding time for the full length movie (processing atm), between 3-1 & 3-2, but I had one doing 3-1 a couple of days ago, it was going to take a L-O-N-G, the CUDA encoding countdown started at about 18 hours Would there be any difference in encoding time, if it was just the video track (add the audio later) Might have to start using Resolve. Anyway, still learning, and you keep improving your workflows... Cheers
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25th July 2024, 11:56 | #517 | Link |
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3-2 use madVR for generating the metadata and it's not as good as the DV algo.
You could possibly get some brightness fluctuation between shots and the average_PQ metadata is much higher with madvr which will result in a darker tone-mapped image. Here's the actual difference between metadata generated with Dolby algo, HDR10plus and Madvr: https://drive.google.com/file/d/1Pii...usp=drive_link
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25th July 2024, 12:40 | #518 | Link | |
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Can this be done with Resolve ??
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25th July 2024, 13:07 | #519 | Link |
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Of course, 3-2 will always be faster than 3-1 and faster than Resolve as well because it can create the metadata straight from the HEVC stream with madMeasureHDR.exe or HDR10plus.
In 3-2: if present, will convert HDR10plus to DV if no hdr10plus, it will use madvr to measure the video and convert the madvr measurement file to DV. in both cases, no prores transcoding and no slow performance (cm_analyze.exe) so that's why it is so fast but less accurate than using the official Dolby Algo (the same algo the studios use).
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25th July 2024, 13:40 | #520 | Link | |
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My old eye's probably won't be able to tell too much difference. So just for my information, I am currently watching Pirates Of The Caribbean Curse of the Black Pearl, and there is a LOT of different "colour grading" through out, some scenes are quite "natural" looking, and other's are dark and "reddish", is this the grading process that you speak of that takes hours in Resolve ???
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batch scripts, dolby vision processing, dovi_scripts |
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