Tag: iMac

Studio Mac Display HDR | 20220308


Studio Mac Display HDR | 20220308 | 1-memo•com | My ‘studio’ display comparison with same HDR Dolby film on the MacBook Air M1 (2020) versus the iMac Retina 5K, 27-inch, Late 2015 . (both default colour profile , night shift off, no true tone).

YouTube screening delivers HDR to the MacBook , but no HDR to the iMac , resulting in dull display on the desktop iMac. No big display differences though comparing the original film screening with QuickTime Player at both Macs.

Film details : HDR Dolby Vision HLG compatibe film of footage recorded with Sony A7M3 camera using picture profile PP10 HLG2 BT.2020 – Youtube upload 16 Feb 2022 – title : Revisit Sony A7M3 ZV1 HDR | 20220216

Mac displays filmed here with iPhone 12 Pro Max.

Very curious how the new 2022 Mac Studio Display will perform with HDR ;)

TAGS #display #studio #Mac #HDR #iMac #MacBook #Air #M1 #Dolby #HDR #HLG #Youtube #broadcast #Sony #A7M3 #BT2020 #1memo20220308 #1memo20220216 #StudioDisplay #1Memo #michelvanderburg

Final Color Grading HLG Sony ZV-1


Final choice for color grading HDR footage from the Sony ZV-1 filmed using the Picture Profile 10 (PP10) with the Hybrid Log-Gamma HLG2.
My final choice is that version uploaded Sep. 25th (20200925) prepared in a standard library (Rec. 709) of Final Cut Pro X (FCPX). Here I added Neat Video noise reduction, for this 20200929 final version !

Over the past two days I tried to improve on this video by editing in a in a Wide Gamut-HDR FCPX library, producing several versions : 20200928, and 20200927. However , I am using the Late 2015 Retina 5K iMac with a P3 color gamut – not matching the wider Rec.2020 gamut of the footage. Strange things – big difference in colors/luma – happen working with that Wide Gamut library , when exporting the edited work in either h264 (or h265) versus Apple ProRes 422.

I believe I obtain superior and more consistent results when grading in the standard FCPX library (Rec. 709), after changing the clips setting in this library for ‘Color Space Override’ in the FCPX clip inspector : from ‘Off’ to ‘Rec.2020’ (corresponding to the BT.2020 setting in my Sony ZV-1 camera’s PP10 profile).

Next for color grading only the color wheels in FCPX were used for a slight overall (master) increase of saturation , a slight reduction of the brightness of highlights and shadows, plus a larger increase in brightness of the midtones.

Sound from the Sennheiser MKE 200 microphone without the furry windshield.

Final Color Grading HLG Sony ZV-1 | 20200925~20200929 | Michel van der Burg | miracles.media