Color Space, still confused. How and when...

Been watching monitor reviews, color space explanations, on and on. I just don't get it.

I get that rec 709 has a more limited color space than rec 2020 and that generally rec 709 is HD while rec 2020 is UHD. I'm using Samsung UR55 monitors and chatted with Samsung which revealed the monitor uses something like a "B2" color space. So what is that? Obviously my cameras are producing resolution and color space that meets or exceeds rec 2020 but I don't know how to implement it or if I should. I'm working on a project that exceeds distribution via Youtube, Vimeo, etc. This project is intended to be distributed via FilmHub brokering to various networks.

I see in the advance options on the delivery tab a place for color space and gama "tags". What do these "tags" do?

I have read that most monitors and TV's by far are rec. 709. If I tag my render for rec. 2020 will this look poor on rec 709 monitors and or TV's.

What should I use in color management to ensure the final delivery is what I see on the monitor?

As always, thanks in advance. I wish this site had a like button.

Rec2020 on a 709 monitor will appear desaturated. The monitor you’re using isn’t really capable of hdr since it’s only 300 nits peak. So you could try to export Rec2020 with SDR gamma but it’s not a super common display gamma/gamut combo today. Additionally the monitor is only capable of 90% of the P3 gamut which means that a huge chunk of the 2020 colorspace can’t be displayed.

If you don’t know the how or the why and are using a fairly low end panel your best bet is to get as close to 709 as possible through calibration and start there.

Good Luck

This project is intended to be distributed via FilmHub brokering to various networks.

I really don't think you should color correct/grade it on that monitor, especially since you don't even know the color space / gamma it operates in (I don't know "B2" either).

If you deliver to YouTube and/or FilmHub, just completely ignore HDR. Grade to SDR (SDR is not limited in resolution to HD) and deliver as they require.

https://help.filmhub.com/articles/26637 ... uirements#

Rec2020 on a 709 monitor will appear desaturated. The monitor you’re using isn’t really capable of hdr since it’s only 300 nits peak. So you could try to export Rec2020 with SDR gamma but it’s not a super common display gamma/gamut combo today. Additionally the monitor is only capable of 90% of the P3 gamut which means that a huge chunk of the 2020 colorspace can’t be displayed.

If you don’t know the how or the why and are using a fairly low end panel your best bet is to get as close to 709 as possible through calibration and start there.

Good Luck

Thank you Howard. From testing setup settings and delivery settings, it appears using rec 709 10 bit in both the set up and delivery areas produces the most reliable results, i.e. the same image seen editing and after render. I take it that If I render rec.2020 that others viewing the video on Rec.709 will suffer from a desaturated image. Obviously I don't want that.

This project is intended to be distributed via FilmHub brokering to various networks.

I really don't think you should color correct/grade it on that monitor, especially since you don't even know the color space / gamma it operates in (I don't know "B2" either).

If you deliver to YouTube and/or FilmHub, just completely ignore HDR. Grade to SDR (SDR is not limited in resolution to HD) and deliver as they require.

https://help.filmhub.com/articles/26637 ... uirements#

Michel, thank you very much for doing some research on this. That takes time and I appreciate that. SDR it shall be!

Walter, I’ve done Filmhub numerous times. To get the most channels, do SDR with the following- Prores 422 HQ 1080p HD or 4K UHD, and LPM 2-channel audio. These parameters are pretty safe. Although many of the channels license in 1080p, mastering in 4K will allow Filmhub to license for both 1080p and 4K channels. Many channels still want to stream in 1080 because of bandwidth and the world homes still has mostly 1080p TV and related apparatus.

If you’re mastering your deliverables in Resolve on Windows PC, master it to Avid DNxHR at the highest quality or as spec by FilmHub. FilmHub takes Avid DNxHR so you can send them that. However I had better luck submitting Prores 422 HQ so I would take the Avid master and transcode it to Prores 422 HQ using Shutter Encoder. It’s free. As far as I know and from experience, FilmHub doesn’t care if the generated ProRes is “Apple blessed” or not.

For more on the discussion about ProRes on Windows, check out this post: viewtopic.php?f=21&t=183919

Walter, I’ve done Filmhub numerous times. To get the most channels, do SDR with the following- Prores 422 HQ 1080p HD or 4K UHD, and LPM 2-channel audio. These parameters are pretty safe. Although many of the channels license in 1080p, mastering in 4K will allow Filmhub to license for both 1080p and 4K channels. Many channels still want to stream in 1080 because of bandwidth and the world homes still has mostly 1080p TV and related apparatus.

If you’re mastering your deliverables in Resolve on Windows PC, master it to Avid DNxHR at the highest quality or as spec by FilmHub. FilmHub takes Avid DNxHR so you can send them that. However I had better luck submitting Prores 422 HQ so I would take the Avid master and transcode it to Prores 422 HQ using Shutter Encoder. It’s free. As far as I know and from experience, FilmHub doesn’t care if the generated ProRes is “Apple blessed” or not.

For more on the discussion about ProRes on Windows, check out this post: viewtopic.php?f=21&t=183919

Thank you Ellory!

Now I have a plan!

Master SDR, 4K, 10 bit Main.
Render DNxHR Highest quality
Transcode to ProRes HQ using Adobe Media Encoder.
I'm writing all of this down and it is making sense now.

This is a personal best for me. I used a three light set up with two softboxes on main and fill with an umbrella for hair light. Temperature was consistent at 4800K. Got a nice contrast ratio on the face for a mild Rembrandt look. Was able to achieve an aperture of 5.6 for no loss of focus during talent movement with enough background blur to draw attention to the talent. I have to thank everyone here for this accomplishment as I have learned a lot as a member of this forum. It's still not worthy of "look at what I shot" thread but things are getting closer.

Now I have a plan!

Master SDR, 4K, 10 bit Main.
Render DNxHR Highest quality
Transcode to ProRes HQ using Adobe Media Encoder.
I'm writing all of this down and it is making sense now.

You got this, bro! Media Encoder works too.