Beiträge von morphinapg

Zitat von Vouk

Ok, crop and pad added.

Not sure about decimate as it adjusts the output framerate.

On a clip with 25 fps "decimate=cycle=3" would generate a 16.66666 fps file. Wouldn't it make sense to put such file on the timeline and then let the NLE convert it to the desired framerate?

If there is a consistent frame pacing in the source, then yes, letting the timeline do it (or the connector) is absolutely fine.

However, if for example if you have a 24fps source that somehow got encoded as 30fps, then what you have is a 1, 1, 1, 2 pattern, meaning the fourth frame is duplicated. It would be very difficult to ensure the frame rate down conversion would exactly remove the duplicated frame, rather than one of the unique frames. When editing gets involved, it's even harder to guarantee that. If the wrong frame gets dropped, you get severe frame judder as a result.

It's too bad the filter doesn't seem to support removing more than one frame per cycle, as removing two frames from a cycle of 5 would be particularly useful in extracting a 24fps video from a 60p source as well at the correct pacing. However this could probably be accomplished by setting frame rate in sequence/connector to 30fps and then using Decimate with a cycle of 5.

My issue is specifically with video game footage. 30fps inside a 60fps container. Ideally, just dropping every other frame SHOULD be good enough, but with video games sometimes a frame is rendered early or late, so if you use decimate you're more likely to be able to detect which of the two frames in the cycle is a duplicate, to better improve the downconversion.

Zitat von Vouk

Seems Voukoder has some issues when the sequence is based on variable framerate (VFR).

Premiere in general does not work well with VFR sources so I'd imagine this to be a byproduct of that

Zitat von Vouk

So they way I get the pixel data from premiere is okay?

morphinapg Could you write down the settings (encoder, options, muxer, filter, etc) and a short description text so I could add this as preset? Or maybe even more than one.

Premiere's editing workflow is rec709. Even when you edit HDR natively, it saves that in a floating point rec709 pixel format, which Premiere's native encoder converts back to PQ/BT2020 when you select HDR encoding (floating point ensures no color or highlight loss on conversion). When using any other encoder, you're getting that rec709 output, clipped to the first 100 nits. Hence why I needed to create the effect preset to "pre-format" the pixel data as PQ/BT2020. The problem is, Premiere thinks it's seeing rec709, so yes, you absolutely must use rec709 output for my effects preset to work. If you select anything else, Premiere will think it needs to convert the colorspace, modifying those pre-formatted values I so carefully calculated.

As for a Voukoder preset, the HDR process requires the premiere effects preset I uploaded earlier (or for your input video to be HDR without PQ/2020 flags) so it wouldn't be so simple as someone picking a preset in Voukoder. Their video needs to be sending the right color data to begin with or it will look completely wrong. That's why I wrote the guide I did. If they are sending the right color data to vukoder, then there is one preset you could create I suppose:

For just generic HDR support, simply using setparams with:

Will allow HEVC, VP9, H264, and ProRes (if not more) to output in some form of HDR (compatibility would depend on devices of course). HEVC is obviously preferred, so I would default to that with 10bit 4:2:0. You could create presets for both NVENC and x265, and for x265 I'd also enable "HDR Options" and "UHD Blu-ray conform" for the most ideal encoding efficiency. I personally use CRF13 with x265 with HDR content. I haven't experimented enough with NVENC to know what the equivalent would be there.

For a more "perfectly compliant" HDR10 encode, the user would also need to include the actual metadata that describes the brightness of the content and mastering display, as I describe in my guide. As far as I know, that's only doable on x265 for now. But it becomes a much more complicated process if you don't already have numbers prepared for that. The guide explains that process involving a tool I created to measure the light output of individual frames. So I don't think it would be particularly useful to create a voukoder preset with predefined metadata. That should be something the user is inputting themselves.

Glad to hear it!

Zitat von AlexF

Good idea! In case you have a Project in 60fps with Clips of exact the 0,5-framerate you will have a better result by exporting the Project in 60fps and then drop every second Frame before Encoding to 30fps. Exactly that's what I'm doing when i would like to preserve a tv recording for future: Cinema stuff on TV will be in Europe converted to 50fps (NTSC-to-PAL-speedup + doubling Frames) and usually it Looks better converted back to native 25fps (1:1 Frame Transfer).

(Sorry! Die saublöde teutonische Rechtschreibkontrolle kann leider kein Englisch!)

Yeah, if it's exact and consistent, simply dropping the frame rate works perfectly (you can do this in premiere, either in export or sequence settings), but when there's some slight variance in the frame pacing, as there often is with games, decimate would typically give a better result.

Anything should be fine

Zitat von Wickyed

Yes it is the same, HLG does not seems to be different before and after the encoding.

What is very strange is that even when I'm using the Premiere encoder to output in HDR PQ the colors are pretty the same...

I need to test all the encoded files on screens supporting HLG and PQ to see if there is any difference.

The problem is, Premiere is reading your HLG file as SDR. That's okay if you turn around and export as HLG, but the native export will be HLG displayed as SDR, encoded in an HDR container. Just like you could encode any SDR video in HDR mode through premiere's HEVC codec if you want.

HLG is designed in a way that if you read it as SDR, it still looks fairly good, but the colors being the same is an oddity. If the source has BT2020 colors, then Premiere would likely decode that into rec709 color space, meaning you'd need to perform a conversion using the colorspace filter to fix this (input rec709, output bt2020), and then select bt2020 and HLG options in x265 for correct output. Or skip the colorspace filter and use HLG paired with rec709 colorspace and primaries, although that's not recommended.

However, if Premiere is just ignoring the color space, then you may be seeing the native rec2020 color space, which SHOULD look slightly weird in the preview monitor. Like slightly desaturated, maybe a little yellow tinted. If that's the case then you would be free to encode to x265 with HLG and bt2020 options without using the colorspace filter.

Do you have a sample source file I could test? I could maybe give you some advice on how to encode it properly.

I thought of another thing. If it's still overly dark, even with the new preset, it's possible my custom LUT isn't being loaded in the second lumetri filter, so check on that. I believe this SHOULD be embedded into the preset, but if it's not, then I can upload that separately.

Basically what the preset does, is first it compresses the 0-10,000 nit HDR range into the 0-100nit SDR range, and then the second filter performs a transformation from rec709 gamma/color into smpte2084 gamma and rec2020 color. So without the second step, you basically get an image that's 1% the brightness of the original. Open up the second Lunetri effect and see if the LUT is active. Try checking the active checkbox above the LUT selection drop down. If checking that box does nothing, then the LUT is not embedded correctly and needs to be uploaded separately.

It has come to my attention that Premiere 2020 was treating HDR inputs differently than Premiere 2019, so I've created a new preset for Premiere 2020:

https://www.voukoder.org/attachment/743…020-pp2020-zip/

Never mind the previous post. I found the issue and created a new preset for Premiere 2020. Use this and then try encoding to HDR.

Remember, the output window will look desaturated and darker, but that's because it is transformed into a format that your display is not set up to preview correctly. It should however be in the correct format for 2020/2084 output.

and now maybe I can get a little bit of sleep today (lol)

I just tested in 2020 and my preset still works correctly. Not sure what's going on with your end. Try redownloading the preset as I do see the preset is named differently in your screenshots and mine. Perhaps you grabbed an older version of it before I reuploaded. I don't remember exactly what I changed before I reuploaded, but I did change something.

Nevermind, found the issue

Zitat von scarbrtj

That would seem to be... problematic for sure.

It's not. It doesn't matter what pixel format is being sent by Premiere, it only matters that the RGB/YUV values are correct for what your encoder expects based on the flags. Hence this whole preset I've been working on. It works fine in 2019, but I need to create a new one for 2020 it seems.

Okay, so I'm guessing the issue is premiere changing how it handles HDR Video between versions. I'll have to create a new preset for 2020 and then everything should be good.

I just realized something from your screenshot. Are you using Premiere 2020? I created and tested my preset in 2019, and that's what I'm still using for now. It's possible 2020 is handling HDR input differently than 2019 did. For example, 2019 doesn't map black levels correctly on HDR inputs, as it expected a full range video and got limited range instead, and so my preset had to correct for that as well. So if 2020 is handling HDR input differently, I'd need to create a different preset for 2020. If you happen to have a copy of 2019 still, I'd see if it's working there.

Maybe re-download and re-import my preset?

This is what my premiere monitor looks like

EDIT: Encoded, looks perfect

I just noticed something, you have 3 lumetri filters applied. There should only be two from the preset.

Zitat von scarbrtj

In 2.2, PQ is not selectable. The encode just comes out that way. In 2.3, I set the settings just like you showed for another file I previously provided a link to...
2020.2084.2020.mkv:
https://drive.google.com/file/d/1t5zjJe…iew?usp=sharing
And still no HDR-detectability by TV.

Re: HDR encoding guide, here is monitor with the Lumetri presets you provide:
https://i.imgur.com/ZjRO5fV.jpg
And here is what it is "supposed" to roughly look like:
https://i.imgur.com/QPMnHsA.jpg

And here is output file sample using BT2020/SMPTE2084/BT2020NC:
(the link is coming! will update in a minute....)
Using your guide, the output is ULTRA-dark, almost unwatchable; this is what we might guess it would be just from the monitor view in Premiere. For me for whatever reason your HDR encoding guide is the worst I have seen so far in terms of outputs. Try it on the source file I originally linked to.

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The monitor SHOULD look dark/incorrect. It's pre-processing the output in SMPTE2084/BT2020, which your monitor is not displaying in. If you displayed it on an HDR monitor, in HDR mode, it would look correct. Since your TV is not displaying it correctly, what are you watching it with? It's very likely your player is not processing the HDR signal, an is therefore just showing you an image similar to the premiere monitor window. What does it look like if you re-import it back into premiere without my preset applied?

I'll test your video and see what I get.

Zitat von scarbrtj

As you can see they are essentially exactly the same except for "transfer characteristics" which was PQ in v2.2 and now, I guess with setparams filter, it becomes something else.

That's your problem. PQ is what's required for HDR10. With setparams you should set transfer characteristics to SMPTE2084, like this:

BT2020-10bit is a totally different transfer function, not what your TV expects for HDR. In your earlier post you said it looked bad, but it will look bad if you don't apply my preset to it first. Import and apply the Premiere preset, then encode with the above settings, then test it on the TV.

Zitat von scarbrtj

well so demux/mux not working

Vouk... can you confirm that HDR metadata is still being added to the h265 stream. It obv was in 2.2, and seems it might be, or is, for some users.... but I can't replicate that 2.2 behavior in 2.3 now. Do you think anything changed. The main difference I see is no longer being able to select BT2020CL or BT2020NCL in the main media export Premiere window.

Be careful with how you describe this. With the NVENC process, no "metadata" will be created. Metadata is specifically describing MaxCLL, MaxFALL, and mastering display characteristics. That unfortunately can't be included in NVENC encodes as far as I can tell. But most devices don't actually require this to display HDR video. They just fall back to a default tonemapping algorithm.

However, mediainfo confirms colorspace, transfer characteristics, and primaries flags are correctly included in the video stream. My TV recognizes these and plays them correctly without modification. Why your TV doesn't is unknown. I would imagine some difference with the container formats. Are you making sure to select 10bit in your encoder settings? (although my TV still recognizes it as HDR even with 8bit as long as those other flags are in there)

Maybe you can upload a file that worked, and then a file that doesn't, and I can see if I can find anything about them that differ.