Quote:
Originally Posted by C.C. 95
DV is not just metadata added after. It's a completely separate process. When doing a film in post- the HDR grading session and the the DV grading sessions are completely different. In HDR Sessions you are grading for a static totality- when grading for DV you are doing it on a scene by scene basis. The color and luminance variables differ greatly based on the limitations of HDR10 and the greater latitude of DV.
At Company 3 - the DV session Is done in a completely different theater and is the DV and Theatrical pass. HDR pass is a different session in a different room.
The white papers on HDR10 and DV are pretty self explanatory.
The added luminance and color gamut that DV brings is invaluable. It's a much better toolbox.
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No, you're operating on long-held falsehoods and misunderstandings. HDR as a picture environment, as a master file, is graded once when doing a home video version. This is because the EOTF used across HDR10, 10+ and DV is exactly the same. You plug in your source, preferably 12-bit or higher, set it to PQ/ST.2084 and P3D65, and grade away, scene by scene, shot by shot, just as any other grading session would be. The notion that HDR10 has 'static brightness' is complete nonsense because the HDR master itself - with no DV or HDR10 branding at this stage - goes as bright or dim as the creatives want it to be. The PQ system can hold 10,000 nits inside a BT.2020 container and this is true for HDR10 just as it is for DV, there is no "added luminance and colour gamut" to one or the other at source.
Once the master has been signed off they then export it into DV, whereby an automated metadata pass is performed to assign max/min/average levels to every shot. From there they generate metadata for 100, 600 or 1000 nit versions and if on review those versions do not best reflect creative intent they can open up the higher metadata levels for trim passes to adjust for those versions. The specific 10-bit HDR10 version is derived from this data and while some studios prefer a 1000-nit cap for their HDR10 exports (Universal, Paramount) others do not and will port the graded master 'as is' into the HDR10 version (Sony, Warners). To that end, did you ever wonder why some studios use FEL and others use MEL for UHD disc? It's because Dobly's own best practice recommends using MEL if you're exporting a 4000 nit (or higher!) HDR10 version, or if you've graded your content to hit 1000 nits maximum at source, while the deliberately capped 1000-nit export may well have more brightness locked into the FEL layer. Table under spoiler:
[Show spoiler]
But again, even those versions are not 'static' for brightness. That's the #1 misconception with HDR10 and I see it's still going strong today. The actual HDR10 video file put onto the disc varies in brightness from shot to shot, scene to scene, just as DV does. The difference is in how it signals this to the television, as the absolute-luminance PQ format bases its rendering intent on the notion that the end display is suitable for the content. If it is not then it needs tone mapping, and the metadata is what's used to signal the content's parameters to the TV. For HDR10 we just have the brightest pixel and brightest average frame, and sometimes not even that, while DV provides many more levels to allow for much more precision.
But as more and more TVs move away from relying on metadata for HDR10 and actively analyse the image in real time then the gap is narrowing, tho I use DV myself because it's invaluable for taming the wild excesses of Sony's HDR grading in particular, I've got a good TV but it can't handle Sony's Light Cannon™️ grades. I do like the added bit depth that FEL DV brings as it can make a noticeable difference with banding, but even then any UHD discs that use the MEL system are just uprezzing a 10-bit 4:2:0 encode into a 12-bit 4:2:2 output.
Phew. I think that's everything.
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