Rendering with Dolby Vision

I took some footage shot with an iPhone 13 pro and captured in HDR and Dolby Vision. Edited the clips and did the Analyze function in the Color tab. Rendered and it looks great. But just wondered about one thing -- the "HDR Type" is HLG with the new video and it loses the Dolby Vision type. Is this to be expected and it's only Dolby Vision if you pay for Dolby's license?

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I'm not sure that this metadata has any relevance at all. A Dolby Vision master is any video in P3-D65 (or P3-D65 in 2020) with ST2084 EOTF with accompanying Dolby Vision metadata in an XML file.

Regardless of what that metadata field says you have to have the XML file. I think you can output that without the Dolby license, but you can not do a creative trim pass without the license.

I took some footage shot with an iPhone 13 pro and captured in HDR and Dolby Vision. Edited the clips and did the Analyze function in the Color tab. Rendered and it looks great. But just wondered about one thing -- the "HDR Type" is HLG with the new video and it loses the Dolby Vision type. Is this to be expected and it's only Dolby Vision if you pay for Dolby's license?

info.png

Dolby Vision is PQ type HDR like HDR10. HLG is a different kind of HDR.

I took some footage shot with an iPhone 13 pro and captured in HDR and Dolby Vision. Edited the clips and did the Analyze function in the Color tab. Rendered and it looks great. But just wondered about one thing -- the "HDR Type" is HLG with the new video and it loses the Dolby Vision type. Is this to be expected and it's only Dolby Vision if you pay for Dolby's license?

info.png

Dolby Vision is PQ type HDR like HDR10. HLG is a different kind of HDR.

Thanks for the response -- I learned the differences and did a ton of exports with PQ and HLG and in every case the "HDR Type:" presented in get info will either show HDR10 or HLG but never "Dolby Vision" like the source movies. I mean the video looks great in both PQ or HLG but just wondered why it loses the Dolby Vision "HDR Type:". Pretty sure I also ticked "embed metadata" in one of my million test exports.

I'm not sure that this metadata has any relevance at all. A Dolby Vision master is any video in P3-D65 (or P3-D65 in 2020) with ST2084 EOTF with accompanying Dolby Vision metadata in an XML file.

Regardless of what that metadata field says you have to have the XML file. I think you can output that without the Dolby license, but you can not do a creative trim pass without the license.

Thank you! I did learn about exporting the master from the Resolve documentation and also a few things from Dolby's website. And I guess I'll just ignore the field from quicktime if it doesn't really matter. Was just obsessing over why its different from source --> edited and rendered new versions.

Was just obsessing over why its different from source --> edited and rendered new versions.

The iPhone 12 and 13 capture HDR as a Dolby Vision profile 8.4. That's basically an HLG encoded file with frame by frame Dolby Vision dynamic metadata.
Currently, Apple FCP supports editing and export of such a Dolby Vision 8.4 file natively. Simple speaking: Dolby Vision profile 8.4 in - Dolby Vision 8.4 out.

When editing a Dolby Vision profile 8.4 file in Resolve, then you're editing the HLG video, but Resolve doesn't support the export of a Dolby Vision Profile 8.4. You would need to export in HLG and then use Apple Compressor or FCP to get your HLG encoded into Dolby Vision Profile 8.4. During the encode process, Dolby Vision frame by frame metadata gets analysed automatically.

The current Dolby Vision implementation in Resolve mandates ST.2084 (PQ) not HLG as EOTF and will create shot by shot Dolby vision Metadata. You can then then export a Dolby Vision master or mezzanine (e.g., Dolby Vision IMF) that then gets sent to an encoding device.

Read more about Dolby Vision workflows: https://professionalsupport.dolby.com/s ... uage=en_US

The iPhone 12 and 13 capture HDR as a Dolby Vision profile 8.4. That's basically an HLG encoded file with frame by frame Dolby Vision dynamic metadata.
Currently, Apple FCP supports editing and export of such a Dolby Vision 8.4 file natively. Simple speaking: Dolby Vision profile 8.4 in - Dolby Vision 8.4 out.

When editing a Dolby Vision profile 8.4 file in Resolve, then you're editing the HLG video, but Resolve doesn't support the export of a Dolby Vision Profile 8.4. You would need to export in HLG and then use Apple Compressor or FCP to get your HLG encoded into Dolby Vision Profile 8.4. During the encode process, Dolby Vision frame by frame metadata gets analysed automatically.

The current Dolby Vision implementation in Resolve mandates ST.2084 (PQ) not HLG as EOTF and will create shot by shot Dolby vision Metadata. You can then then export a Dolby Vision master or mezzanine (e.g., Dolby Vision IMF) that then gets sent to an encoding device.

Read more about Dolby Vision workflows: https://professionalsupport.dolby.com/s ... uage=en_US

Thanks

I made 3 job in the deliver page
with the 3 Dolby Vision of the same project

profile 8.4

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The profile 8.4 has the according metadata and NCLC code

profile 8.1

capture 2022-05-10 at 15.48.47.png (47.71 KiB) Viewed 2470 times

The profile 8.1 has the according metadata and NCLC code

profile 5.0

capture 2022-05-10 at 15.48.43.png (46.93 KiB) Viewed 2470 times

The profile 5.0 has no metadata

it raise some Questions :
Why profile 5.0 has no tag ? it because of the ICtCp color matrix ?
Why could we choose a profile different from the output colorspace (profile 8.4 is tag with HLG despite the fact that the output colorspace is ST2084). Could be wise to have all incompatible option from the profile menu greyed out ?

Hope you have the answers
thanks in advanced

We put together some FAQs on encoding in Dolby Vision using Resolve Studio 18 betas.

https://professionalsupport.dolby.com/s/article/Dolby-Vision-Encoding-using-Blackmagic-Design-DaVinci-Resolve-Studio-AQs?language=en_US

iPhone recording is basically HLG with DV metadata on top of it. If device is capable of DV then you see DV and for all others it's basically HLG stream.

If you import this file to Resolve it will see it as HLG as it doesn't support DV in h265 (not sure about latest 18b02).
If you wanted to make it DV then you need Studio 18.02b version. With this version you can export h265 DV files as 2 types- plain DV (profile 5) and HDR10+DV (profile 8.x). Resolve doesn't currently export HLG+DV (Dolby site says it can but I see only 5 and 8.1 choices- update: due to use of M1 Mac), so you basically convert HLG to PQ (just by setting timeline/export to PQ- conversion is "lossless"). This way you have HLG converted to PQ and can run Dolby metadata analysis. Once this is done you can export h265 with DV metadata. You end up with HDR10+DV (compared to original HLG+DV). Result on TV which can play both files should be identical (maybe 99% as you created new DV metadata instead of using original one made by iPhone).

You can always export mezzanine master (as ProRes etc.)) + DV metadata as XML file.
Exporting "final h265 playback" files out of Resolve is a new feature in 18b02. You need Studio version.

I'm not sure that this metadata has any relevance at all. A Dolby Vision master is any video in P3-D65 (or P3-D65 in 2020) with ST2084 EOTF with accompanying Dolby Vision metadata in an XML file.

Regardless of what that metadata field says you have to have the XML file. I think you can output that without the Dolby license, but you can not do a creative trim pass without the license.

It's exactly same metadata, but stored in h265 private headers.
Video+XML file is just 1 way of delivering DV and it's more for mezzanine masters, from which files similar to iPhone recording are generated. These are final playback files.
You can also deliver mezzanine DV master with metadata embedded in MOV container. Video+XML is not your only option.
You could even generate very high bitrate (or lossless) h265 file with DV metadata and treat it as mezzanine DV master. It's just a matter if 2nd end can deal with it.

We put together some FAQs on encoding in Dolby Vision using Resolve Studio 18 betas.

https://professionalsupport.dolby.com/s/article/Dolby-Vision-Encoding-using-Blackmagic-Design-DaVinci-Resolve-Studio-AQs?language=en_US

Thanks

iPhone recording is basically HLG with DV metadata on top of it. If device is capable of DV then you see DV and for all others it's basically HLG stream.

If you import this file to Resolve it will see it as HLG as it doesn't support DV in h265 (not sure about latest 18b02).
If you wanted to make it DV then you need Studio 18.02b version. With this version you can export h265 DV files as 2 types- plain DV (profile 5) and HDR10+DV (profile 8.x). Resolve doesn't currently export HLG+DV (Dolby site says it can but I see only 5 and 8.1 choices- update: due to use of M1 Mac), so you basically convert HLG to PQ (just by setting timeline/export to PQ- conversion is "lossless"). This way you have HLG converted to PQ and can run Dolby metadata analysis. Once this is done you can export h265 with DV metadata. You end up with HDR10+DV (compared to original HLG+DV). Result on TV which can play both files should be identical (maybe 99% as you created new DV metadata instead of using original one made by iPhone).

You can always export mezzanine master (as ProRes etc.)) + DV metadata as XML file.
Exporting "final h265 playback" files out of Resolve is a new feature in 18b02. You need Studio version.

With Resolve 18 release, DV is supported in h265. I am exporting my iPhone 12 HLG dolby vision videos with h265 and DV Profile 8.4 but when I play on my LG C8 TV (HDR & Dolby Vision certified), tv displays HLG HDR while playing final video. Colors do not look good (over exposed) in comparison to DV Profile 5. DV Profile 5 output file is absolutely fantastic but doesn't play well on non HDR displays. I am doing this on Macbook Air m1.
Any suggestion?

iPhone recording is basically HLG with DV metadata on top of it. If device is capable of DV then you see DV and for all others it's basically HLG stream.

If you import this file to Resolve it will see it as HLG as it doesn't support DV in h265 (not sure about latest 18b02).
If you wanted to make it DV then you need Studio 18.02b version. With this version you can export h265 DV files as 2 types- plain DV (profile 5) and HDR10+DV (profile 8.x). Resolve doesn't currently export HLG+DV (Dolby site says it can but I see only 5 and 8.1 choices- update: due to use of M1 Mac), so you basically convert HLG to PQ (just by setting timeline/export to PQ- conversion is "lossless"). This way you have HLG converted to PQ and can run Dolby metadata analysis. Once this is done you can export h265 with DV metadata. You end up with HDR10+DV (compared to original HLG+DV). Result on TV which can play both files should be identical (maybe 99% as you created new DV metadata instead of using original one made by iPhone).

You can always export mezzanine master (as ProRes etc.)) + DV metadata as XML file.
Exporting "final h265 playback" files out of Resolve is a new feature in 18b02. You need Studio version.

With Resolve 18 release, DV is supported in h265. I am exporting my iPhone 12 HLG dolby vision videos with h265 and DV Profile 8.4 but when I play on my LG C8 TV (HDR & Dolby Vision certified), tv displays HLG HDR while playing final video. Colors do not look good (over exposed) in comparison to DV Profile 5. DV Profile 5 output file is absolutely fantastic but doesn't play well on non HDR displays. I am doing this on Macbook Air m1.
Any suggestion?

Wehn you where color correcting it, how did you monitor the video?

iPhone recording is basically HLG with DV metadata on top of it. If device is capable of DV then you see DV and for all others it's basically HLG stream.

If you import this file to Resolve it will see it as HLG as it doesn't support DV in h265 (not sure about latest 18b02).
If you wanted to make it DV then you need Studio 18.02b version. With this version you can export h265 DV files as 2 types- plain DV (profile 5) and HDR10+DV (profile 8.x). Resolve doesn't currently export HLG+DV (Dolby site says it can but I see only 5 and 8.1 choices- update: due to use of M1 Mac), so you basically convert HLG to PQ (just by setting timeline/export to PQ- conversion is "lossless"). This way you have HLG converted to PQ and can run Dolby metadata analysis. Once this is done you can export h265 with DV metadata. You end up with HDR10+DV (compared to original HLG+DV). Result on TV which can play both files should be identical (maybe 99% as you created new DV metadata instead of using original one made by iPhone).

You can always export mezzanine master (as ProRes etc.)) + DV metadata as XML file.
Exporting "final h265 playback" files out of Resolve is a new feature in 18b02. You need Studio version.

With Resolve 18 release, DV is supported in h265. I am exporting my iPhone 12 HLG dolby vision videos with h265 and DV Profile 8.4 but when I play on my LG C8 TV (HDR & Dolby Vision certified), tv displays HLG HDR while playing final video. Colors do not look good (over exposed) in comparison to DV Profile 5. DV Profile 5 output file is absolutely fantastic but doesn't play well on non HDR displays. I am doing this on Macbook Air m1.
Any suggestion?

Hm...not sure.
Did you setup Resolve properly as HLG project and as asked- how did you monitor your HLG grade?
When you import iPhone recording it will be just HLG as Resolve doesn't read embedded DV metadata.
When you export as DV then metadata is added back, so you are back to file been DV.
Profile is important.
To export profile 5 you need to perform metadata analysis before and this will be embedded into exported file. Profile strictly for DV only devices.
For profile 8.1 (HDR10+DV) and 8.4 (HLG+DV, so your case) exporting generates metadata on the fly, so you don't need to do any DV analysis before (it's always overwritten even if you do so). Such a file should also trigger DV in your TV as far as I understand. If it doesn't then something is not right.