How do I work with DJI HLG footage?

Hello

If I create a "Colour Space Transform" to work with DJI drone footage in the HLG colour Profile do I put the settings at:

Input Colour Space = Rec.2100
Input Gamma = Rec.2100 HLG

Output Colour Space DaVinci Wide Gamut
Output Gamma DaVinci Intermediate

Or have I got this wrong and should be using another combination please?

I can't find any information and I'm gust guessing this is correct.

Basically I've give up truing to work with Dlog M footage from my DJI Mini 4 Pro drone as its just not very nice to work with.

I must point out that I am not a professional colourist, I just make little movies for my own pleasure.

Cheers.

Hopeful bump.

Any advice would be very much appreciated

Cheers

Looking at the Image Order Of Operations (attached and July 2023 18.6 Manual at page 3127) the HLG source footage is converted to your timeline color space (Rec.709?), then converted to the color space in Color Space Transform. Then you color the result. Then the result is converted to your timeline output color space for Delivery. (written as the green 2)

If I were you, I would convert the project to Davinci YRGB Color Managed, HDR (or HDR Davinci Wide Gamut Intermediate) and what output color space you need. (written as the green 1)
That way you skip two conversions and have full control over the process.

I don't know how the DJI HLG is interpreted in Davinci, but post a small sample and we can verify if something else needs changing.

Thanks for replying. I use two CSTs. One o go from the camera colour space into Davinci Wide Gammut. And the other, at the end of my Node Tree to go from Davinci Wide Gammut to Rec.709.

I grade between these two CSTs

It's the part where I convert HLG recorded by my Drone into DWG that I'd like help with please.

To help what way can I include a clip of actual HLG footage for you to examine?

Cheers.

Thanks for replying. I use two CSTs. One o go from the camera colour space into Davinci Wide Gammut. And the other, at the end of my Node Tree to go from Davinci Wide Gammut to Rec.709.

I grade between these two CSTs

It's the part where I convert HLG recorded by my Drone into DWG that I'd like help with please.

To help what way can I include a clip of actual HLG footage for you to examine?

Cheers.

1) the only place I could find that shows how to convert dji hlg is

(yes, it's in polish. If the link doesn't start at 7:40 go there)

2) I would like to see what mediainfo says the colorspace is defined as in a file, and I have had bad experiences with asking people to post that info, so that's why I'd like to do it myself.
(If you're asking how to help: Dropbox or wetransfer or onedrive or google drive or any other webhost that doesn't convert the video, that means no youtube, upload it there and share a link.

I’ve been doing a bit of digging on Google and in old forums.
There isn’t much information out there however of the information I could glean, there is a general consensus of opinion. And that opinion of the very few sites I found is that the HLG settings are:

Input colour space = Rec2100
Input Gamma = Rec.2100


When I take some Test Footage of DJI “Normal” colour profile and some Test Footage of DJI “HLG” colour profile and put them into Resolve in their corresponding CSTs to convert into Davinci Wide Gammut to colour correct, then both clips were remarkably similar on the waveform and vector scope.

Sadly DJI Dlog-m looked nothing like either “Normal” (rec709) or HLG.

For the time being, until somebody can provide other advice I’m going to stick with the settings at the top of this reply, and in my Opening Post.

It’s been an interesting learning curve.

This setting should work fine with your HLG footage.

screenshot_972.jpg (55.16 KiB) Viewed 4122 times

This setting should work fine with your HLG footage.

screenshot_972.jpg

Sadly he doesn't wanna do that.

The correct setting would be HLG Scene for input gamma. But HLG is a bit of an odd case when it comes to color management because it's sort of a hybrid between SDR and HDR. There isn't really a way to convert it back to true scene-referred afaik. You can use the adaptation slider to fiddle a bit with how you map the range till it feels right and further tweaking is inevitable and will depend on what was captured and which camera.

I personally don't like HLG. A lot of our projects are shot on iPhones in DolbyVision (in HLG container) and I rather have the Apple in camera SDR conversion as it simply gives better result than trying to grade HLG. (the new Apple Log is even better of course)

Anyway, if you're not having great results with it, consider using DLog-M instead. It's not Rec.709 but it's intended to be treated as such and in grading adding saturation and contrast to taste. It will probably give more natural results than HLG.

This setting should work fine with your HLG footage.

screenshot_972.jpg

That is setting up Colour Management.

I still need to tell Resolve what colour space my footage is in so that it can be mapped into DWG.

The correct setting would be HLG Scene for input gamma. But HLG is a bit of an odd case when it comes to color management because it's sort of a hybrid between SDR and HDR. There isn't really a way to convert it back to true scene-referred afaik. You can use the adaptation slider to fiddle a bit with how you map the range till it feels right and further tweaking is inevitable and will depend on what was captured and which camera.

I personally don't like HLG. A lot of our projects are shot on iPhones in DolbyVision (in HLG container) and I rather have the Apple in camera SDR conversion as it simply gives better result than trying to grade HLG. (the new Apple Log is even better of course)

Anyway, if you're not having great results with it, consider using DLog-M instead. It's not Rec.709 but it's intended to be treated as such and in grading adding saturation and contrast to taste. It will probably give more natural results than HLG.

I thought about HLG Scene and gave it a try. I got as near as I can tell the exact same results with both settings.

As for D-LOG M I now find that it is exceptionally over saturated if I put it into the DJI LOG DJI Gamma colour space. And if I map it into the Rec.709 colour space then the Waveform and vector scope are close to HLG colour space

With my Panasonic camera, I refuse to work in HLG as it does not play well at all in Resolve.

This setting should work fine with your HLG footage.

The attachment screenshot_972.jpg is no longer available

That is setting up Colour Management.

I still need to tell Resolve what colour space my footage is in so that it can be mapped into DWG.

I'm confused. Yes, and that's super easy.

This setting should work fine with your HLG footage.

screenshot_972.jpg

That is setting up Colour Management.

I still need to tell Resolve what colour space my footage is in so that it can be mapped into DWG.

I'm confused. Yes, and that's super easy.

The great thing about Resolve is that there is more than one way to do the same task.
However we both seem to be in agreement on the Colour Space Transform of:

Rec.2100
Rec2100.HLG

Surely?

For DJI footage, it’s likely exposed based on BT.2408 recommendations as are most HLG profiles on cameras. The correct setting would be to use HLG (Scene) and adjust exposure by roughly -1 2/3 stops.

https://xtremestuff.net/recording-editi ... ma-part-2/



The problem with iPhone HLG is that iPhones will overexpose HLG by anywhere between 2-5 stops. The GTM and LTM also make things worse. Apple Log doesn’t suffer from these same issues.

The great thing about Resolve is that there is more than one way to do the same task.
However we both seem to be in agreement on the Colour Space Transform of:

Rec.2100
Rec2100.HLG

Surely?

I do not know if we agree or not. I do not have a sample of DJI HLG footage to confirm the settings with.

I showed how to set the settings you wanted, in the most optimal way from a computation standpoint: Instead of Raw data -> 709 -> DWI -> 709, my way does Raw data -> DWI -> 709. (Assuming your final delivery is 709, which you also didn't specify)

Here is a 18 second clip of some DJI HLG footage.

It's taken on a drab dull day of me just zipping around so don't expect Oscar winning content.

Hope it helps.

https://drive.google.com/file/d/1BX7MYG ... p=drivesdk

It's perfect! Oscar winning moment for sure

General
Complete name : DJI_20231212150929_0134_D.MP4
Format : MPEG-4
Format profile : Base Media
Codec ID : isom (isom/iso2/mp41)
File size : 296 MiB
Duration : 18 s 460 ms
Overall bit rate : 134 Mb/s
Frame rate : 50.000 FPS
Encoded date : 2023-12-12 15:09:29 UTC
Tagged date : 2023-12-12 15:09:29 UTC
Writing application : DJI Mini4 Pro
Cover : Yes
snal : (Binary)
tnal : (Binary)

Video
ID : 1
Format : HEVC
Format/Info : High Efficiency Video Coding
Format profile : Main 10@L5@High
Codec ID : hvc1
Codec ID/Info : High Efficiency Video Coding
Duration : 18 s 460 ms
Bit rate : 130 Mb/s
Width : 3 840 pixels
Height : 2 160 pixels
Display aspect ratio : 16:9
Frame rate mode : Constant
Frame rate : 50.000 FPS
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 10 bits
Bits/(Pixel*Frame) : 0.314
Stream size : 286 MiB (97%)
Encoded date : 2023-12-12 15:09:29 UTC
Tagged date : 2023-12-12 15:09:29 UTC
Color range : Limited
Color primaries : BT.2020
Transfer characteristics : HLG
Matrix coefficients : BT.2020 non-constant
Codec configuration box : hvcC

Other #1
ID : 2
Type : meta
Format : djmd
Codec ID : djmd
Duration : 18 s 460 ms
Bit rate mode : Variable
Title : DJI meta
Default : No
Alternate group : 5
Encoded date : 2023-12-12 15:09:29 UTC
Tagged date : 2023-12-12 15:09:29 UTC

Other #2
ID : 3
Type : meta
Format : dbgi
Codec ID : dbgi
Duration : 18 s 460 ms
Bit rate mode : Variable
Title : DJI dbgi
Default : No
Alternate group : 5
Encoded date : 2023-12-12 15:09:29 UTC
Tagged date : 2023-12-12 15:09:29 UTC

So the short version is that your settings are correct. Now I agree with your settings.
Thank you very much for the file!
(And Davinci autodetects it as Rec.2100 HLG when under Color Managed)

It was a Team Effort.

Now the bit that confuses me is the difference between BT2020 and 2100HLG.

They don't make things easy to decipher.

BT.2020:
Color Space Standard: BT.2020, also known as Rec. 2020, is a standard that defines the color space for ultra-high-definition television (UHDTV). It specifies a wider color gamut than the previous standard, Rec. 709, which is commonly used for high-definition television (HDTV).
Color Gamut: BT.2020 has a significantly larger color gamut, meaning it can represent a wider range of colors. This is especially important for HDR content, where capturing and displaying a broader range of colors is desirable.
Not Specific to HDR: While BT.2020 is associated with UHDTV and is often used in conjunction with HDR content, it is not exclusively an HDR standard. It defines the color space and gamut for both standard dynamic range (SDR) and HDR content.

BT.2100 HLG (Hybrid Log-Gamma):
HDR Standard: BT.2100 is a standard that defines high dynamic range (HDR) television. It includes various transfer functions, one of which is HLG (Hybrid Log-Gamma).
Hybrid Log-Gamma: HLG is a specific HDR transfer function designed to be compatible with both traditional SDR displays and HDR displays. It allows for the creation of content that looks good on both types of displays without the need for separate SDR and HDR versions.
Backward Compatibility: One of the key advantages of HLG is its backward compatibility, meaning that HLG content can be viewed on SDR displays without significant issues. On HDR displays, it provides the benefits of enhanced dynamic range.

In summary:

BT.2020 is primarily about defining the color space and gamut for UHDTV, and it is not specific to HDR.
BT.2100 HLG is a standard within BT.2100 that includes the HLG transfer function, designed to provide a high dynamic range with backward compatibility for both SDR and HDR displays.

Both standards contribute to the development and implementation of HDR technologies, with BT.2020 providing a wider color space, and BT.2100 HLG addressing the transfer function for HDR content delivery.

Hi folks, sorry that I am tagging onto your thread... I used all the options above, but I don't get the same result...(that I want at least)

I am quite new to DVR and just upgraded to Studio version...
I have a Macbook with XDR screen, so true HDR and DJI HLG really pops and shows up brightly if I play it on Preview, Quicktime or in other NLEs.

When I use Final Cut Pro on a Wide Gamut Library, my clips and timeline are super bright (which is what I want)...

In DVR though the same DJI HLG clips on the timeline and the Bin look dull (like Rec 709, or even DLOG-M dullness)

How do I make my timeline clips look bright... I can't see the true result when trying to grade or apply a LUT, hope this makes sense, thanks, Jed

I think I may have found my answer here of all places... I will try is on my MBP 16 M1Max when I get home...
https://professionalsupport.dolby.com/s ... uage=en_US

Quoted Below for Ready Reference

DaVinci Resolve settings to enable HDR on viewers
Setting the Apple Mac Display profile
As with using any monitor for professional content review purposes, it is recommended to first calibrate the display. In order to do this, you may need to create a new display profile first..

Enable the feature on Resolve
Please note that the "Display HDR on viewers if available" is a Resolve feature that is only available on MacOS. The MacOS version must be 10.14.6 or above and the Resolve version must be 16 or above.

Please follow the following steps to enable this feature in Resolve:
Go to DaVinci Resolve Preferences…-> System -> General
enable “Use 10bit precision in viewers if available” and enable “Use Mac Display Color Profiles for Viewers”
Go to Project Settings -> Color Management and enable “Display HDR on viewers if available”
Restart Resolve to make above settings effective
For Intel-based Mac, go to your MacOS System Preferences -> Display and disable “True Tone”. Disable “Automatically adjust brightness” and set the brightness of your screen to 80% - 90%
The brightness levels are relative. Thus, don’t set the brightness to maximum as this will clip the highlights.
For Apple silicon Macs with an XDR display, go to System Settings -> Display, and set the Preset to HDR Video(P3-ST 2084). This will set the display to HDR reference mode.

Further notes
In order to have a correct representation of HDR images using this feature, Resolve needs to be set to the correct output color space and EOTF. Therefore, in a color managed project, the output color space should be set to P3 and the EOTF (labelled as Gamma in Resolve) should be set to ST2084. When working in a non-color managed project, you must set the timeline settings according to the above-mentioned settings in order to get a correct image representation. The other key setting to remember is the “display HDR on viewers if available” in color management.

If using the preview window alongside other UI elements on a single display, it's also useful to know the shortcut “Command+F” which will quickly switch to and from a full screen preview.

All the info you found above looks about right. I wouldn't worry too much on the recommendation to calibrate the display. If you don't fully know what you're doing or how to set it up properly you may end up with less accurate results than stock MBP display. The key is that you need to set the XDR display to the appropriate HDR reference mode via the MacOS display settings.

You can also press [P] to go into full screen btw instead of [CMD]+[F]. For me that's much easier because I'm left-handed:)

It's also worth nothing that you'll need to transform the DJI footage to the chosen HDR output space (if not camera native). Quicktime will read the tags and adjust accordingly but you'll need a CST for Resolve if not using RCM.

Good Luck

All the info you found above looks about right. I wouldn't worry too much on the recommendation to calibrate the display. If you don't fully know what you're doing or how to set it up properly you may end up with less accurate results than stock MBP display. The key is that you need to set the XDR display to the appropriate HDR reference mode via the MacOS display settings.

You can also press [P] to go into full screen btw instead of [CMD]+[F]. For me that's much easier because I'm left-handed:)

Thanks, I have used the settings and it looks and works exactly as I want it to...the render was just as I wanted it too.

I have no tools to calibrate and am not fussed about exactness for now... Thanks again

I was having this same Issue. DJI Air 3, filmed in HLG. I noticed that in my finder/folder on my Mac that the footage was saved to, when I went to the file details (not in Davinci) the file color space was listed as being filmed in Rec 2020 not 2100 HLG Scene. The problem I noticed was that Davinci, when I checked in Media was automatically labelling the footage as 2100 HLG Scene when using color management. This was giving me really blown out footage. I cant seem to find anything about this on the internet which is how I ended up here. I found if, while using color management I switch the "input color space" to rec2020, my issues were solved. If you are not using color management and doing this manually with a beginning and end CST, when in the first CST doing the transform to Davinci wide gamut you need to start with the color space for rec 2020, and I believe 2100 scene, then DWG/Davinci Intermediate. Im very new at this, but this seems to have corrected for me. Can anyone else verify that Davinci is incorrectly labeling rec2020 to rec2100 color space on DJI Drone specifically??

I was having this same Issue. DJI Air 3, filmed in HLG. I noticed that in my finder/folder on my Mac that the footage was saved to, when I went to the file details (not in Davinci) the file color space was listed as being filmed in Rec 2020 not 2100 HLG Scene. The problem I noticed was that Davinci, when I checked in Media was automatically labelling the footage as 2100 HLG Scene when using color management. This was giving me really blown out footage. I cant seem to find anything about this on the internet which is how I ended up here. I found if, while using color management I switch the "input color space" to rec2020, my issues were solved. If you are not using color management and doing this manually with a beginning and end CST, when in the first CST doing the transform to Davinci wide gamut you need to start with the color space for rec 2020, and I believe 2100 scene, then DWG/Davinci Intermediate. Im very new at this, but this seems to have corrected for me. Can anyone else verify that Davinci is incorrectly labeling rec2020 to rec2100 color space on DJI Drone specifically??

1) What does mediainfo say?
2) You are aware that you can set the input file color space in RCM, right? (Media -> rightclick -> Input Color Space -> Rec2020 (or whatever you want)

I was having this same Issue. DJI Air 3, filmed in HLG. I noticed that in my finder/folder on my Mac that the footage was saved to, when I went to the file details (not in Davinci) the file color space was listed as being filmed in Rec 2020 not 2100 HLG Scene. The problem I noticed was that Davinci, when I checked in Media was automatically labelling the footage as 2100 HLG Scene when using color management. This was giving me really blown out footage. I cant seem to find anything about this on the internet which is how I ended up here. I found if, while using color management I switch the "input color space" to rec2020, my issues were solved. If you are not using color management and doing this manually with a beginning and end CST, when in the first CST doing the transform to Davinci wide gamut you need to start with the color space for rec 2020, and I believe 2100 scene, then DWG/Davinci Intermediate. Im very new at this, but this seems to have corrected for me. Can anyone else verify that Davinci is incorrectly labeling rec2020 to rec2100 color space on DJI Drone specifically??

1) What does mediainfo say?
2) You are aware that you can set the input file color space in RCM, right? (Media -> rightclick -> Input Color Space -> Rec2020 (or whatever you want)

I'm aware. I'm currently doing exactly this. The media info in resolve is labeling them as 2100 HLG scene. The media info on my mac on the actual file states rec2020. To my understanding they are supposed to be the same, but when I change the color input setting by RT clicking the file in disolve from 2100 scene to rec2020 scene the footage doesn't look over exposed anymore. I have no idea why this is, but I figured posting about it might help someone else when working with DJI, HLG video.

Can anyone else verify that Davinci is incorrectly labeling rec2020 to rec2100 color space on DJI Drone specifically??

Not sure what is correct or not, but it behaves as you say. In fully automatic mode for an SDR rec709 timeline it sets colour input as rec2100 hlg

2100.jpg (263.45 KiB) Viewed 1968 times

changing to rec2020 it looks like this

2020.jpg (256.33 KiB) Viewed 1968 times

I was having this same Issue. DJI Air 3, filmed in HLG. I noticed that in my finder/folder on my Mac that the footage was saved to, when I went to the file details (not in Davinci) the file color space was listed as being filmed in Rec 2020 not 2100 HLG Scene. The problem I noticed was that Davinci, when I checked in Media was automatically labelling the footage as 2100 HLG Scene when using color management. This was giving me really blown out footage. I cant seem to find anything about this on the internet which is how I ended up here. I found if, while using color management I switch the "input color space" to rec2020, my issues were solved. If you are not using color management and doing this manually with a beginning and end CST, when in the first CST doing the transform to Davinci wide gamut you need to start with the color space for rec 2020, and I believe 2100 scene, then DWG/Davinci Intermediate. Im very new at this, but this seems to have corrected for me. Can anyone else verify that Davinci is incorrectly labeling rec2020 to rec2100 color space on DJI Drone specifically??

1) What does mediainfo say?
2) You are aware that you can set the input file color space in RCM, right? (Media -> rightclick -> Input Color Space -> Rec2020 (or whatever you want)

I'm aware. I'm currently doing exactly this. The media info in resolve is labeling them as 2100 HLG scene. The media info on my mac on the actual file states rec2020. To my understanding they are supposed to be the same, but when I change the color input setting by RT clicking the file in disolve from 2100 scene to rec2020 scene the footage doesn't look over exposed anymore. I have no idea why this is, but I figured posting about it might help someone else when working with DJI, HLG video.

Mediainfo is https://mediaarea.net/en/MediaInfo
It's independent on whatever the operating system says and a lot more detailed.

General
Complete name : DJI_20231212150929_0134_D.MP4
Writing application : DJI Mini4 Pro

Video
Format profile : Main 10@L5@High
Codec ID : hvc1
Codec ID/Info : High Efficiency Video Coding
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 10 bits
Bits/(Pixel*Frame) : 0.314
Color range : Limited
Color primaries : BT.2020
Transfer characteristics : HLG
Matrix coefficients : BT.2020 non-constant
Codec configuration box : hvcC

I was having this same Issue. DJI Air 3, filmed in HLG. I noticed that in my finder/folder on my Mac that the footage was saved to, when I went to the file details (not in Davinci) the file color space was listed as being filmed in Rec 2020 not 2100 HLG Scene. The problem I noticed was that Davinci, when I checked in Media was automatically labelling the footage as 2100 HLG Scene when using color management. This was giving me really blown out footage. I cant seem to find anything about this on the internet which is how I ended up here. I found if, while using color management I switch the "input color space" to rec2020, my issues were solved. If you are not using color management and doing this manually with a beginning and end CST, when in the first CST doing the transform to Davinci wide gamut you need to start with the color space for rec 2020, and I believe 2100 scene, then DWG/Davinci Intermediate. Im very new at this, but this seems to have corrected for me. Can anyone else verify that Davinci is incorrectly labeling rec2020 to rec2100 color space on DJI Drone specifically??

DJI HLG footage appears blown out because it's conforming to BT.2408 recommendations. I posted about this a few posts up...

For DJI footage, it’s likely exposed based on BT.2408 recommendations as are most HLG profiles on cameras. The correct setting would be to use HLG (Scene) and adjust exposure by roughly -1 2/3 stops.

https://xtremestuff.net/recording-editi ... ma-part-2/

I have also developed transforms that apply the proper corrections for BT.2408 based footage if looking for better accuracy.

For DJI footage, it’s likely exposed based on BT.2408 recommendations as are most HLG profiles on cameras. The correct setting would be to use HLG (Scene) and adjust exposure by roughly -1 2/3 stops.

https://xtremestuff.net/recording-editi ... ma-part-2/

The problem with iPhone HLG is that iPhones will overexpose HLG by anywhere between 2-5 stops. The GTM and LTM also make things worse. Apple Log doesn’t suffer from these same issues.

Whoa! I think this is the answer I've been searching for TOO MANY HOURS/DAYS!

Through the vats of YouTube fluff and via search engines. As a last resort, I thought to sign up here and search around, this is my first post/reply... and low and behold THE ANSWER. lol!

I've tried so many other ways: RCM and regular, different settings, etc. and all seem off. Since I'm new to DJI HLG and DR I thought I was doing something wrong. But I'm not new to video editing.

Anyway, I just tried the settings you found, on that post about the difference between HLG Scene and HLG, and lowered the exposure in Global HDR wheel down 1.66, and now my footage looks balanced and normal! A solid proper baseline to find tune, not some horror show of odd colors and weird things happening due to incorrect file format assignment.

THANK YOU!