HDR And Wide Color Gamut In Final Cut Pro X
HDR and Wide ColorGamut in Final Cut Pro XWhite PaperDecember 2019
ContentsHDR and Wide Color Gamut in Final Cut Pro XIntroduction3Background4Wide Color Gamut5High Dynamic Range6Sources of Wide-Gamut HDR Video7Wide-Gamut HDR in Final Cut Pro X8Setting Up Wide-Gamut HDR in Final Cut Pro9About Changing a Project’s Color Space11About Displays, ColorSync, and Tone Mapping11Monitoring a Wide-Gamut HDR Project with Pro Display XDR12Monitoring a Wide-Gamut HDR Project with a Third-Party Display13Limiting PQ Output Levels13Exporting a Wide-Gamut HDR Project14Delivery to Multiple Color Spaces15Creating HDR and Rec. 709 SDR Deliverables15Converting Between HLG and PQ17Preparing for Export18Key Takeaways19Conclusion20December 20192
IntroductionModern professional video cameras record images with a wide range ofcolor and brightness levels that better reflect what the human eye cansee. The latest generation of displays—including 4K televisions, computerand broadcast monitors, and Mac computers—can accurately render thiswider palette of colors and broader range of light. Final Cut Pro supportsvideo files from these cameras and video output to these displays,allowing editors to deliver wide-color, high-dynamic-range content toa range of consumer and professional devices.With Pro Display XDR, Final Cut Pro editors can take advantage of theworld’s best pro display to view, edit, color grade, and export video ona Retina 6K display that offers 1000 nits of sustained brightness and a1,000,000:1 contrast ratio. This combination of technical specificationsmakes Pro Display XDR the ideal professional monitor for critical worksuch as HDR color correction.This white paper discusses the concepts behind these new capabilitiesand describes recommended workflows.For comprehensive information about Final Cut Pro X, see theFinal Cut Pro X User Guide.HDR and Wide Color Gamut in Final Cut Pro XDecember 20193
BackgroundSince the introduction of high-definition television in the 1990s,HDTV displays have been limited to a standard range of colors definedby an industry specification for HDTV broadcasts called Rec. 709(ITU-R Recommendation BT.709). This range of colors, or color gamut,is a subset of all the colors visible to the human eye. The Rec. 709color gamut was based on the color characteristics of cathode ray tube(CRT) displays in use around 1990. A few years later, CRT computerdisplays were standardized with a color space called sRGB. Because CRTcomputer displays had similar characteristics to CRT televisions, sRGBadopted the Rec. 709 color gamut.The figure below shows the CIE 1976 UCS diagram, still widelyreferenced today, depicting all of the colors visible to the humaneye, displayed here in the color delta shape. The triangle inside thecolor region represents the subset of colors reproducible by theRec. 709/sRGB color gamut.0.7Color space: Rec. 709/sRGB0.60.50.4v’0.3Rec. 709/sRGB0.20.10HDR and Wide Color Gamut in Final Cut Pro X0December 20190.10.20.3u’0.40.50.60.74
BackgroundFor the past two decades, computer displays, HDTV displays, HDTVvideo content, and most computer-based media (graphics, photos, andvideos) have continued to use the Rec. 709 color gamut. They have alsoused a power function (sometimes referred to as gamma) that describesthe mathematical relationship between image signal values and thelight level (or luminance) produced by the display. Even though CRTdisplays have become obsolete, most flat-panel televisions and videodisplays continue to display images using the Rec. 709 color gamut andCRT‑based gamma function because they have remained the standardfor high-definition television broadcast.More recently, however, advances in flat-panel display technologies haveenabled larger palettes of colors—“wider” color gamuts—than affordedby Rec. 709, as well as much higher luminance ranges.Wide Color GamutDisplays that support wider color gamuts with a traditional luminancerange are sometimes referred to as wide-gamut, standard-dynamicrange (SDR) displays. Current models of Mac, iPhone, and iPad supporta wider-gamut SDR color space called Display P3. Display P3 uses thesame color gamut as DCI P3, the standard for movie theater digitalprojectors, combined with a white point and gamma appropriate fortypical viewing environments. The figure below shows that the P3 colorgamut contains more colors than the Rec. 709 gamut, with notableimprovements in the range of red and green areas of the color spectrum.0.7Color space: Rec. 709/sRGB vs. P30.60.50.4P3v’0.3Rec. 709/sRGB0.20.10HDR and Wide Color Gamut in Final Cut Pro X0December 20190.10.20.3u’0.40.50.60.75
BackgroundHigh Dynamic RangeDisplays that support both wider color gamuts and higher luminanceranges are referred to as high-dynamic-range (HDR) displays. HDRdisplays can produce not only high peak luminance values but also verylow black levels, revealing more detail in both shadows and highlights.HDR displays typically reach peak brightness levels above 1000 nitswhile maintaining very high contrast ratios, much higher than thebrightness levels and contrast ratios of SDR displays. These levels ofbrightness mean that images appear more true to life, with a dynamicrange that more closely reflects what the eye sees in the real world.The figure below shows how increased brightness levels (measured innits) combined with a wider color gamut greatly expand the range ofreproducible color.Color volume: HDR (Rec. 2020) vs. SDR (Rec. 709/sRGB)10,0001,000HDRnits100100.8 0.70.6 0.50.4 0.30.2 0.10.0y1.0 0.9SDR.00.9 1.7 0.80.6 0.50.4x0.3 0.1 0.20.0 0HDR displays typically process video at 10 bits per color componentrather than 8 bits. The additional color data lets HDR displays rendermore discrete steps from the minimum to maximum brightness value ineach color.In order to encode and transmit HDR images more efficiently, newmathematical transfer functions are used instead of gamma. Twopopular standards are the Perceptual Quantizer (PQ) function, definedin both SMPTE ST 2084 and ITU-R Recommendation BT.2100, andHybrid Log‑Gamma (HLG), also defined in Rec. 2100.HDR and Wide Color Gamut in Final Cut Pro XDecember 20196
Sources of Wide-Gamut HDR VideoFor several years, image sensors in professional video cameras havehad the ability to capture more colors and higher dynamic range thanafforded by Rec. 709. These cameras use internal image processingto constrain the output color gamut and dynamic range to Rec. 709,the broadcast industry standard. More recently, a number of pro videocameras have featured “log,” raw, and HLG recording formats, which cancontain both a wider range of colors than the Rec. 709 color gamut anda higher dynamic range than can be shown on SDR displays.HDR and Wide Color Gamut in Final Cut Pro X Log: When you shoot video using a log format, Final Cut Pro canprocess the log file to convert colors for viewing in Rec. 709 or widercolor gamuts, and in either SDR or HDR. Log conversion makes theflat image look less washed-out and more vibrant. Many cameramanufacturers provide their own post-production log-conversionlookup tables (LUTs) designed to make their images look good forbroadcast or the cinema. In many cases, Final Cut Pro automaticallyapplies the manufacturer-specified log processing to a clip uponimport as a real‑time effect that can be turned on or off later at theuser’s discretion. Raw: Some video cameras can shoot with a raw setting or be coupledwith a ProRes RAW recording device such as an Atomos recorder.Shooting in raw captures the camera sensor’s full gamut andpreserves more colors and dynamic range than can be displayedin Rec. 709. For more information, see Apple ProRes RAW. HLG: More recently, cameras from companies such as Panasonicand Sony have begun offering HDR recording modes using the HLGtransfer function. HLG uses an SDR gamma curve for the lower half ofthe signal values and a logarithmic curve for the upper half, allowingfor programs that have a higher dynamic range while being viewableon both SDR and HDR displays.December 20197
Wide-Gamut HDR in Final Cut Pro XThe Final Cut Pro color management system automatically convertsvideo and stills to a common “working color space.” This color space,in which compositing and rendering of visual effects are performed,is chosen to produce the best results for those operations. In earlierversions of Final Cut Pro, the working color space was a linearizedversion of the Rec. 709 color space, which is appropriate for workingwith colors that are mostly inside the Rec. 709 color gamut.With Final Cut Pro 10.3 and later, you can choose between the traditionalRec. 709 working space and a linearized version of the new, wider-gamutRec. 2020 color space (ITU-R Recommendation BT.2020). Rec. 2020provides a wider gamut than P3 and is designed to support any newdisplays that may be introduced in the future. Rec. 2020 is also the colorgamut used in the Rec. 2100 standard for HDR video and in commonHDR delivery profiles such as HDR10.0.7Color space: Rec. 709/sRGB vs. P3 vs. Rec. 20200.60.50.4P3v’0.3Rec. 709/sRGB0.2Rec. 20200.10HDR and Wide Color Gamut in Final Cut Pro X0December 20190.10.20.3u’0.40.50.60.78
Wide-Gamut HDR in Final Cut Pro XWhen converting log footage to the working space, Final Cut Pro 10.3(and earlier versions) applied tone mapping to reduce the dynamic rangeof the log content to a range suitable for SDR editing. Final Cut Pro 10.4supports a wide-gamut (Rec. 2020) HDR working space for which logfootage is no longer tone-mapped upon conversion. This makes thefull dynamic range of the log source footage available to effects in theworking space, but it requires the user to reduce the dynamic range ofthe footage to a specified output range using color-grading controls,custom LUTs, or the HDR Tools effect.Setting Up Wide-Gamut HDR in Final Cut ProIt’s easy to set a library’s working color space and a project’s outputcolor space to HDR in Final Cut Pro. Because the working color spaceis determined by the library’s color-processing setting and affects allprojects and media in the library, it’s a good idea to create a separatelibrary for each job to prevent accidental color space crossover issues.Create an HDR library1. Create a new library, or select an existing library in the Librariessidebar.2. Do one of the following: Choose File Library Properties (or press Control-Command-J). Click the Inspector button in the toolbar.3. Click the Modify button at the top of the Library Properties inspector.Click to set thecolor processing.4. In the dialog that appears, select Wide Gamut HDR.Selecting this option sets the working color space to linear RGB withRec. 2020 color primaries. With this setting, the Final Cut Pro built‑incamera LUTs preserve the full dynamic range of log source mediawhen converting to the working space.HDR and Wide Color Gamut in Final Cut Pro XDecember 20199
Wide-Gamut HDR in Final Cut Pro XSet the output color space for a project to wide-gamut HDRWhen you set the project’s color space, the project’s render files aregenerated in that color space, and the project is exported in that colorspace if the destination codec and settings support it. During playback,video and stills are converted to the project’s color space and thendisplayed onscreen according to the display device’s color profile.1. In the Libraries sidebar, select the event that contains the project youwant to modify, then select the project (or double-click it to open it inthe timeline).2. Do one of the following: Choose Window Project Properties (or press Command-J). Click the Inspector button in the toolbar.3. In the Project Properties inspector, click the Modify button in thetop‑right corner.Click to modifythe projectsettings.4. In the dialog that appears, click the Color Space pop-up menu andchoose one of the Wide Gamut HDR options: Wide Gamut HDR - Rec. 2020 PQ: Choose this option if you wantto create an HDR movie with the Rec. 2020 color space and PQtransfer function (Rec. 2100 standard). This format can be usedfor Dolby Vision and HDR10 mastering at a later stage. Wide Gamut HDR - Rec. 2020 HLG: Choose this option if youwant to create an HDR movie with the Rec. 2020 color space andHLG transfer function (Rec. 2100 standard). This format may befavored by some broadcasters who need the program to play onboth SDR and HDR televisions.Color Spacepop-up menu5. Click OK.The library and project are now set for working in wide-gamut HDR.HDR and Wide Color Gamut in Final Cut Pro XDecember 201910
Wide-Gamut HDR in Final Cut Pro XAbout Changing a Project’s Color SpaceAfter you set a library to wide-gamut HDR, any project with HD resolutionor higher created in that library can be set to one of the following colorspaces using the Modify command in the Project Properties inspector(described in step 3 above): Standard - Rec. 709 Wide Gamut - Rec. 2020 Wide Gamut HDR - Rec. 2020 PQ Wide Gamut HDR - Rec. 2020 HLGYou can change a project’s color space at any point because this settingaffects the final stage of the color pipeline only. However, changing alibrary’s color-processing setting affects the working space and the logprocessing performed by the built-in camera LUT settings. This maychange the look of some effects used in the project, including the Keyerand color correction effects.About Displays, ColorSync, and Tone MappingFinal Cut Pro uses macOS ColorSync technology to match the knowncolor space of video or stills to the color space of an Apple display,according to the display’s ICC profile. This display profile can be set inthe Displays pane of System Preferences.As long as the display profile’s color space is wide enough toaccommodate the gamut of the content, image content in the SDRluminance range will be displayed accurately in the viewer. Colorsoutside of the display profile’s color space will appear clipped, however.In the case of HDR, the appearance of the image in the viewer dependson your version of macOS and your display settings.macOS Catalina 10.15With macOS Catalina and Final Cut Pro 10.4.7, HDR content in theviewer is tone-mapped by default. Tone mapping reduces the apparentdynamic range of the video to fit the properties of the display, makingthe image appear more natural. To turn off tone mapping, click the Viewpop‑up menu in the upper-right corner of the viewer, then, in the Displaysection, choose Show HDR as Tone Mapped, so that the checkmark doesnot appear.HDR and Wide Color Gamut in Final Cut Pro XDecember 201911
Wide-Gamut HDR in Final Cut Pro XmacOS Mojave 10.14On macOS Mojave, values above 50.8% signal level (100 cd/m2, or nits)for PQ and 50% signal level for HLG will appear clipped in the viewer,but these values will be written properly in exported files and sent toexternal HDR monitors connected by Thunderbolt video output devices.To view the full HDR signal range in the viewer without clipping, you canselect the Show HDR as Raw Values option in the viewer’s View menu.This setting is especially useful for making color adjustments usingonscreen controls like the eyedropper in areas of the image that mayotherwise appear clipped in the viewer.Monitoring a Wide-Gamut HDR Projectwith Pro Display XDRIt’s essential to use a reference-quality HDR display for monitoring andgrading your HDR footage.When you’re using Pro Display XDR, Final Cut Pro provides professionalreference-grade color and brightness accuracy in HDR video playback.Pro Display XDR produces an industry-leading 1000 nits of full-screensustained brightness and 1600 nits of peak brightness, which, alongwith efficient backlight control, delivers outstanding contrast betweenthe brightest brights and the blackest blacks. The result is an incredible1,000,000:1 contrast ratio and stunningly realistic images.You can connect the display directly to your Mac using a Thunderbolt 3cable. For maximum accuracy in color and brightness up to 1000 nits,select the HDR Video reference mode in the Displays pane of SystemPreferences. In the HDR Video reference mode, tone mappingis automatically disabled so that HDR content is displayed withreference‑level accuracy at 1000 nits of peak brightness.You can display the Final Cut Pro viewer on Pro Display XDR. You canalso use Pro Display XDR as a secondary, full-screen A/V Output display(in Final Cut Pro, choose Window A/V Output). For more informationabout using Pro Display XDR as a professional HDR monitor, seeColor correct HDR video with Pro Display XDR and Final Cut Pro.HDR and Wide Color Gamut in Final Cut Pro XDecember 201912
Wide-Gamut HDR in Final Cut Pro XMonitoring a Wide-Gamut HDR Projectwith a Third-Party DisplayYou can connect a non-Apple HDR display to your Mac using aThunderbolt video output device such as the AJA Io 4K Plus. Firstconnect the output device to your Mac with a Thunderbolt 3 cable, thenconnect the display to the output device using HDMI or SDI cables.Using the video output device manufacturer’s control panel, configurethe device to match the settings of your project and reference display.For example, if you’re grading for Rec. 2020 PQ, configure the displayand the control panel accordingly.Limiting PQ Output LevelsWhen you’re grading HDR content for a PQ deliverable, bright parts of theimage can often exceed the maximum supported luminance level of thecolor-grading monitor or the display monitor. In this case, it’s generallya good idea to apply tone mapping to the image to limit the maximumoutput level of each RGB channel. There are three ways to do this: Apply the HDR Tools effect, which includes a PQ Output Tone Mapsetting that can be used to reduce the peak brightness of clips in aPQ project to a specified level. The HDR Tools effect applies a softrolloff to the highlights so that important visual detail is not clipped. Use a third-party tool to create a LUT whose output is set toRec. 2020 PQ and limited to a specified level. You can apply thisLUT in Final Cut Pro using the Custom LUT effect. Apply a Color Curves color correction effect, with the curveshape configured to apply a soft rolloff to the bright areas of theimage so that it’s within the range that can be displayed on thecolor‑grading monitor.When performing these adjustments, it may be helpful to show theWaveform video scope and set it to either RGB Parade or RGB Overlayview. In these views, the vertical axis of the waveform is labeled in unitsof cd/m2 (nits), which is a measure of the display’s output brightnesslevel corresponding to the PQ signal level. Note that for the Luma andChroma views, and for any non-PQ content, the vertical axis reverts toIRE (where 100 IRE represents 100% signal level). This is because thewaveform signal in these cases does not correspond directly toabsolute cd/m2 values.HDR and Wide Color Gamut in Final Cut Pro XDecember 201913
Wide-Gamut HDR in Final Cut Pro XExporting a Wide-Gamut HDR ProjectWhen you’re ready to export a project as a wide-gamut HDR master,it’s usually best to use the Master File destination in the Share menu.For optimal results, use a 10-bit or higher codec such as Apple ProRes.Make sure that the Color Space field in the Settings pane of the MasterFile Share window displays either Wide Gamut HDR - Rec. 2020 PQ orWide Gamut HDR - Rec. 2020 HLG.360º images 2015 Jaunt, Inc.HDR and Wide Color Gamut in Final Cut Pro XDecember 201914
Delivery to Multiple Color SpacesIn some cases, you may need to deliver a single project in bothRec. 2020 HDR and Rec. 709 SDR, or you may need to deliver anHDR project in both PQ and HLG. In that case, it’s best to work in awide-gamut HDR library so that edits, effects, and color correctionare performed in the widest color gamut available. You can choosewhether to create your Rec. 709 SDR project or your HDR project first.If your HDR deliverable needs to look its best and the SDR deliverableis secondary, it’s recommended that you create your HDR project firstusing the steps below.Creating HDR and Rec. 709 SDR Deli
HDR and Wide Color Gamut in Final Cut Pro X December 2019 7 Sources of Wide-Gamut HDR Video For several years, image sensors in professional video cameras have had the ability to capture more colors and higher dynamic range than afforded by Rec. 709. These cameras use internal image processing
Images HDR et rendu HDR Images HDR Rendu HDR Définitions Principes Comparaison avec les images classiques Construction des images HDR Logiciels Formats. Historique Utilisation des images HDR pour le rendu 3D Intérêt du rendu HDR Limitations Solutions pour l'affichage.
HDR and Wide Color Gamut in Final Cut Pro November 2020 7 Sources of Wide-Gamut HDR Video For several years, image sensors in professional video cameras have had the ability to capture more colors and higher dynamic range than afforded by Rec. 709. These cameras use internal image processing
the black. In comparison the human eye can do 18 to 20 stops (a very High Dynamic Range (HDR) and Standard Dynamic Range (SDR) video images 6 to 7 stops. Gamut or Color Gamut In color reproduction, including computer graphics and photography, the gamut, or color gamut, is a certain complete subset of colors.
by the HDR technology which is a combination of High Dynamic Range, Wide Color Gamut and Higher Bit-depth (10/12-bit sampling). HDR components[10] are shown in Figure 2-1. HDR improves the pixels and enables viewer to see a more realistic image and have an immersive visual experience. Figure 2-1 Component of HDR technology
a wider color gamut beyond Rec.709, e.g., DCI P3, Rec. 2020. ACES (Academy Color Encoding System) provides a standardized optimal framework for preserving HDR and wide color gamut throughout the production and post production workflow, from image origination using on-set HDR
originate impressive HDR imagery. The camera offers a choice of wide color gamuts including the new ITU-R BT.2020 wide color gamut, and a Cinema Gamut that is even wider. 3.0 Canon’s new portable 24-inch on-set reference display DP V2410 was designed in concert with the EOS C300 Mark II camera. The display includes HDR functionality.
Gamut 38 In color reproduction, including computer graphics and photography, the gamut, or color gamut, is a certain complete subset of colors. The most common usage refers to the subset of colors which can be accurately represented in a given circumstance, such as within a given color space or by a certain output device. 31 AUGUST 2016
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