Wednesday, February 10, 2016

RE: [Avid-L2] Re: HDR workflow

 

I emailed the Filmlight/Baselight presenter for some clarification on many points I didn't retain from the presentation.  Seems a full Dolby Vision compatible file has to be produced through a full tilt Baselight.    Here is his summary and a link with a workflow guide using the Avid Baselight Plugin.  :


You can do every type of HDR delivery EXCEPT for a Dolby Vision metadata delivery with Baselight for Avid. You need a full Baselight system to do Dolby Vision.

You also need a special Dolby Vision processing box from Dolby (they call it the Content Mapping Unit or CMU). Baselight remote-controls this CMU box to generate the Dolby Vision metadata using special signals encoded in the SDI stream. The Avid plugin interface does not allow us to embed this special metadata in the SDI stream.

You can do the PQ HDR master in Baselight for Avid if you have the right kind of monitor, but to generate the Dolby Vision metadata you need to take the project to a full Baselight with the CMU attached.

You can generate an HDR10 master for BluRay/Amazon/other HDR delivery or a HybridLogGamma HDR delivery just but choosing the right output coloruspace in Baselight for Avid. There is a quick-reference guide for the basic setup here:
FilmLight | Documents | Baselight | Quick Reference

 




---In avid-l2@yahoogroups.com, <blafarm@...> wrote :

I have not seen the BBC system in person.  While I appreciate both the royalty-free and compatibility backstories, it would appear that the "price to pay" will be in form of decreased performance as compared with the Dolby Vision specification.  

And like all of the other regrettable baggage that came attached to the US transition from B&W to Color, it would likely be very difficult (if not possibly impossible) to re-engineer that potentially lesser BBC standard, after it had been adopted worldwide.

Splicing LOG onto the top of Rec.709 is certainly a novel approach, and I commend them for that, but in the end it seems like a compromised, stopgap measure, with hard performance limitations that likely will prevent further development.






---In Avid-L2@yahoogroups.com, <tcurren@...> wrote :

I don't know Nigel, Had we made a clean break when adding color in the US, there wouldn't be so damn many frame rates to deal with now. and no .98, .97, etc. 

Also, the ringing between colors in NTSC was a heionous artifact. What will be the price to pay this time with this bolted on approach for broadcast HDR? 


---In Avid-L2@yahoogroups.com, <avid-l@...> wrote :

But still better than NTSC for the viewer surely?

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