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HDR colour correction and Export

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There is no HDR setup, no HDR colour correcting and no in detail HDR Export

stephene80719801Author

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Hi Neil,

Thank you for your reply, what setting do you advise me to colour correct on, the Lumetri settings I shared with you, and do you have a HDR monitor you would recommend without me having to sell my wife and house please.

I would be very grateful if you could advise the sequence and Lumetri settings i should use, at the moment its a stab in the dark.

Thank you for your time

Steve

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R Neil Haugen

Legend

Ahh, an HDR monitor without selling the wife, house, and car to get it … that’s the challenge, right?

There are several that can work for those not doing broadcast/streaming (as for that work you need a high end HDR setup). As I’ve been through their booth at NAB and have discussed theirs with both some Adobe staffers and other colorists I know, I’ll list a couple possibilities.

Among the Asus are the ProArt PA279CRV-P, a 27” that does color supposedly pretty solid although it does only get to 400 nits or a little better. That’s pretty low-end HDR, but … it’s definitely a lot more correct tonal and chromatic data the whole way up than most other monitors around $470 full list retail. That’s the cheap option I know of, and it is somewhat limited shall we say.

A big step up is the Asus ProArt OLED, PA27UCDMR which has better color response, “peak brightness” of 1,000 nits, though that’s only on a small part of the screen, but does HLG and DolbyVision HDR. This one can easily handle projects to 600 nits for prosumers wanting to make YouTube or other content. And is “only” $1,300 full list retail.

And the better option for total capability is the OLED ProArt PA27USD which at “specs glance” looks similar to the UCDMR but is actually a better screen and underlying system. You may not see a real difference in your work though. This monitor is about the lowest I’d need for my work. It’s full list retail is $2,199.

Then in Premiere to get started, maybe try the ‘direct HLG’ option in the color management panel. That should set up a workable series of settings.

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Everyone's mileage always varies ...

R Neil Haugen

Legend

Reading your note, the major problem is your monitor must be capable of realistically at least 600 nits with proper color handling in the upper couple hundred nits in order to do HDR visibly. Some monitors use bright white LED elements to push brightness to say 600 nits, but it doesn’t have proper color content.

The HDR400 standard is pretty low … only 400 nits doesn’t really ‘hit’ visibly dynamic HDR viewing, and that screen only does 90% (claimed ...) of the P3 color gamut if it does meet the claimed spec. So for many people, the HDR400 ‘gaming’ screens are only a bit “more” than a Rec.709 screen.

I’ve worked with a screen with similar limitations, and … it isn't a good way of working. One must rely on the scopes to check things, and while I’m used to always checking scopes, I also want a visible means of seeing the image. I can’t have confidence really when I can’t see the image.

That said, HDR is almost ‘here’ … we’re finally getting more actual HDR capable screens as a percentage of the screeens in use, between TVs, computers, tablets and phones … and more content is actually delivered with HDR options.

I work with/for/teach pro colorists, and so am familiar with the range of work they’re doing … and most are still not routinely delivering even HDR for b-cast yet. It’s getting more common, but clearly not ‘universal’. Rec.709 is still the main deliverable for most b-cast/streaming shows.

So once you get the screen, then the other settings all depend on what you want to end up with. That determines how you set your total pipeline, not what media you have to start with.

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Everyone's mileage always varies ...

R Neil Haugen

Legend

Huh? What specific number-dot-number version are you on, like 26.3.0 buildX …?

How are you setting up your color management ? You are setting up color management, right?

You have choices for Rec.709/SDR, and HDR in either HLG or PQ, whether to use a wide gamut sequence working space or not, the monitor/export space for the sequence, and the choice to skip all color management and go direct from “raw” clip data to export. That pretty much covers things.

The inverse transform option needs a better fix granted, but they are working on that.

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Everyone's mileage always varies ...

stephene80719801Author

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Hi Neil,

I hope you’re well, sir.

I’m using version 26.5.1 (Build 1) and have set up colour management for HDR HLG.

My first question is: should I use Wide Gamut (Tone Mapped) at 100, 200, 600, or 1,000 nits?

Should I use ACEScct or Rec.2100 HLG?

Under Advanced > Working Colour Space, should I enable Input Tone Mapping, Input Gamut Compression, or both?

I have an Acer EL1 Series monitor, which I believe is set to Rec.709. As a result, I don’t think I’m seeing the full colour range or brightness needed to edit HDR footage accurately. I have therefore purchased an Atomos Shinobi 7, which is connected to my graphics card, in the hope of achieving more accurate colour and brightness.

However, I’m struggling to find clear guidance on which settings I should use to achieve accurate colours and ensure that the exported video matches what I see while editing.

I hope this makes sense. Thank you very much for your time and help.

Steve

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