다빈치 해상도에서 HDR을 SDR로 변환하기

다빈치 리졸브에서 HDR을 SDR로 변환하려면 설정을 조정하고 적절한 색상과 휘도를 위해 사용자 지정 LUT를 사용해야 합니다.

### 다빈치 해상도에서 HDR을 SDR로 변환하기: 설정, LUT 및 색 공간 변환
* 🎞 발표자는 DaVinci Resolve에서 HDR을 SDR로 변환하는 설정을 설명하면서 **LUT가 올바르게 작동하기 위한 특정 HDR 설정**의 중요성을 강조합니다.
* 🖥 비 HDR 모니터와 **HDR 모니터의 이미지 외관 차이**와 **커스텀 LUT가 SDR 출력을 개선**하는 방법을 보여줍니다.
* 🎨 스피커는 **LUT의 효과와 색 공간 변환을 비교**하여 명암과 휘도가 더 나은 **LUT에 대한 선호도**를 표현합니다.
* 💡 SDR만 지원하는 소셜 미디어 플랫폼에서 **HDR을 SDR로 변환**해야 하는 이유는 해당 플랫폼이 HDR 콘텐츠를 지원하지 않기 때문입니다. rec 2100 설정을 사용하여 YouTube에 HDR 영상을 업로드한 경험을 공유하겠습니다.
* 📺 이 연사는 **다빈치 리졸브의 Dolby Vision 및 HDR10+ 옵션**과 **HDR을 SDR로 변환할 때 다양한 코덱의 호환성**에 대해 설명합니다.
* 🌈 다빈치 리졸브에서 **관리 모드와 비관리 모드를 전환**할 때의 영향과 변환 과정에서 **HDR 색상 도구를 사용할 때의 한계**에 대해 살펴봅니다.

here's how i convert my hdr to sdr. i go over here to my little lut and i turn it on and bam. there's uh my sdr. no i'm kidding. i'll go into more detail here. uh first of all let me show you my settings because this makes a difference. i'm not in the color manage mode. there's a difference here. my hdr setting is rec 2100 st 2084. they changed these a little bit in resolve 17 and my hdr mastering is for 1000 nits. so if you're not using these settings my lut probably won't work and even the color space transform might not work correctly. so um we'll look at that in a moment here. so let me show you what that looks like. you'll notice here on my non hdr imac this image looks pretty flat. it doesn't have a lot of contrast or saturation. that's because that's what hdr looks like on the sdr monitor. my monitor is set to rec 709 here but you'll notice up here on my

lg oled ah all of a sudden we see a lot of contrast and saturation. It looks much more like HDR, so let's change our output to Rec. 709 gamma 2.4. This is your standard Rec. 709 setting in DaVinci Resolve, and we can turn this off since we're not outputting HDR anymore. I'm in the timeline nodes, not the clip nodes, because I want to affect my entire project. I have a node here that I have a custom LUT on, and if I turn it on, you'll notice that yeah, again, it gives me this beautiful image that is very much in the SDR space as far as color and luminance. You notice down here in my scopes, all the information here is within the top and bottom, you know, that's my maximum on Rec. 709. On HDR, it's a little different. You notice my scale is still set to HDR. This is the nit scale, so I would go to 10-bit, and I'd have the 0 to 1023 scale, but everything fits in there.

let me turn off my node here real quick, and notice how it drops down. That's because it was fitting within my HDR range of 1000 nits. So, I always grade up to 1000 nits. I don't grade any higher than that line. But again, with my LUT, it fills that range out and it gives me the appropriate Rec. 709 look right here. Again, I'll go full screen. I'll be sharing this LUT. Exactly how, I haven't really figured out yet, but you'll see the information down in the description on how to get this LUT. I've been using this LUT for like almost two years. I developed it a long time ago, and I've just been using it on everything because it looks good and it handles everything. Since I'm grading consistently in the same way, it handles everything I throw at it, and always, I'm always really happy with it. The other way to do it is a color space transform. So, you're going to tell Resolve if you look over here that your input color space is Rec. 2100 input.

gamma st 2084 this matching the settings that we had when we were grading an hdr. And then your output color space and gamma you just say use the timeline so that it's going to go right into rec 709 automatically. And you'll see that it looks pretty good. Now in my opinion it doesn't look as good as my lut. That's why I use my lut. Did you know that had this mode that's shift f it gives you whatever you're selecting here on the top. So um I want to see my nodes and my image. So I get my nodes and my image. So this is with the color space transform. It's pretty decent. This is my lut. I think that looks a lot better. I like what it's doing with the contrast and the luminance. This one's kind of kind of washed out here in the middle. Maybe the con the saturation's not as high. Yeah and the luminance isn't quite as bright on this. I think this tends to push things a little bit more. And I've heard some people say that

the color space transform tool and resolve isn't perfect in some situations. It can mess up. I don't know exactly what those situations are. I'm just saying, for my tastes, I prefer my LUT. So why would you want to convert HDR to SDR? Well, currently, the only places that I upload to that support HDR would be YouTube or Vimeo. I don't actually upload to Vimeo. It doesn't make sense for me to pay for a Vimeo account, so just YouTube and Vimeo. As far as I'm concerned, if you're able to put something on Netflix, I mean, you're probably gonna have to do Adobe Vision because I think that's usually what Netflix uses. That's a whole other world. Just for average people like me, YouTube is my only really place to do it. But when I go to social media, every other social media, be it TikTok or Instagram or Facebook or Twitter or whatever, they only support SDR. Hopefully, they'll support HDR in the future, but right now just SDR. So you

need to convert your footage to sdr. That's what I do here. You'll notice that when I went to my settings here, I had it set to rec 2100. That's okay because if you look at YouTube's settings here when you search for their help section, and they have this bit here on HDR. They mention, you know, rec 2100 here. So, and they even say down here that in a lot of applications, rec 2100 implies the rec 2020 color. In many apps, Resolve is specific. It says rec 2100, but it's completely compatible because I've been uploading YouTube like this for two years. I usually output in ProRes 422. It's totally supported by YouTube. Interestingly, H.264 10-bit also works. They don't specify H.265, which I think is odd. And these other flavors here, this would be a very large file size to begin with. This is a very large file size. This would also be a very large file size. If you can find VP9 encoder, go for it.

again, I'm using QuickTime MOV because I'm on Apple over here. So if you're on a Windows computer, you're probably better off using MP4 and an H.264 codec. That'd probably be the simplest way to do it. I'm not going to go into encoding. I covered that a little bit more in one of my other videos, and I'll have that link down below. Is there something else I want to cover? Um, oh yeah, also Dolby Vision. You see you have the option here in Resolve. I can't find any information about whether YouTube supports it. I believe since it's telling me all this kind of stuff here, I don't know that this applies to Dolby Vision. I don't have a way of trying it because I don't have any Dolby Vision footage. I guess I could try on my phone, but I don't know. To me, HDR 10 has been working well, and like I said, there's a lot to Dolby Vision that I just don't know currently. So I'm

not quite ready to jump into that world. Same with HDR 10 plus. There's a lot going on here that I don't know about, and so I don't use HDR 10 plus. I'm just straight up HDR10. So now that we've seen how this conversion looks in my non-managed mode, let's jump over to managed and see what happens when we switch over to managed. But you notice how it kind of shifted the image right away. Like this does not look like it did before when we were here. See how it looks flat because the color management. It starts looking at your footage, at the picture profile if it recognizes it, and it's going to display it differently. It just does completely different things with the footage. So if you come over here and put this light on, it looks overblown. It's not right. And same with the color space transform. It doesn't work. Because my grade is bad. Now I have to actually grade differently if I was grading in the color manage mode then if

i was in the non-color managed mode. So once you start in one of these modes, here you got to stick with it. I think these would work actually as long as you started in that mode and you graded. Then these would probably still work on the end because you'd be going from, you know, probably something to look like this to something that looks like this with the LUT or with the color space transform. But just so you know, if you start one way and and you jump to the other one, it's not gonna work. So let me get out of this mode. One other thing I'll point out is if you use the HDR color wheels, this is a new feature they introduced in version 17. They're great. I'd love to use them, but they do something different internally. And once you start using these, let me just make one little adjustment here. I just adjusted the offset, the global offset here. It no longer. Oh, hang on. I got to do that on one on. See, I do it over here in my uh on a regular note. I come over here.

and I make one little adjustment. Okay, now I've used my HDR color tools. You can see the effect there. All of a sudden, it's slow because this is 8K raw from the Canon R5, and my computer doesn't handle that very well. Watch what happens now when I use my LUT. Let me, okay, let me, let me drop back this off. This is a bit too much. Let me, uh, okay, I made just a slight change so we're not going to notice a big huge blue shift that actually looks okay. All right, I take it all back. I played with this before where I used one of these HDR tools and all of a sudden, neither my LUT nor the color space transform worked. I don't, I couldn't really explain why. I had something to do, I thought, with what Resolve does internally when you start using the HDR color tools. Let me try a different slider. Maybe it makes a difference here. Okay, so I made a slight change there. No, it still looks okay. So I take it all back. I guess you can still use the HDR.

tools. Yeah, it's weird though because I totally could not do that before. All right, go ahead and use the HDR tools. I'm telling you, I ran into an issue where, when I used the HDR tools, all of a sudden, neither the color space transform nor my LUT would work on the end. It was a very bizarre experience. I can't really explain why it didn't work. It might have been a bug, so just be warned that you might have issues if you use the HDR tools, which is really counter-intuitive. I mean, these HDR tools were designed for creating an HDR, but again, I guess, you know, this is ultimately SDR. But, you know, whatever, you're grading an HDR first and then you're converting to SDR. All right, well, I hope you enjoyed that video. Comment if you have questions down below and thumbs up and all that stuff. I'll see you later.

How to Convert HDR to SDR in DaVinci Resolve

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다빈치 리졸브에서 HDR을 SDR로 변환하는 핵심은 Rec.

2100 ST 2084 및 1000니트용 HDR 마스터링과 같은 올바른 설정을 사용하는 것입니다.

타임라인 노드에서 전체 프로젝트에 사용자 지정 LUT를 적용하면 Rec.

709 범위 내에 맞게 색상과 휘도를 조정하여 이미지를 SDR로 변환할 수 있습니다.

다른 방법은 색 공간 변환을 사용하여 입력 색 공간을 Rec.

HDR 그레이딩을 위한 색 공간 변환과 LUT 비교하기

스피커는 더 나은 명암비와 휘도를 이유로 Resolve의 색 공간 변환 도구보다 자체 LUT 사용을 선호합니다.

대부분의 소셜 미디어 플랫폼은 SDR 콘텐츠만 지원하므로 YouTube 및 소셜 미디어와 같은 플랫폼에 업로드하기 위해 HDR을 SDR로 변환합니다.

반면 넷플릭스는 일반적으로 HDR 콘텐츠를 위해 Dolby Vision이 필요합니다.

YouTube의 경우 영상을 rec 2100으로 설정해도 괜찮습니다.

이는 rec 2020 색상을 의미하며 Resolve와 호환되기 때문입니다.

264 10비트로 업로드하는 것은 지원되지만 H.

Windows의 경우 영상을 간단하게 변환하려면 MP4와 H.

264 코덱을 사용하는 것이 좋습니다.

돌비 비전과 YouTube의 호환성은 불확실하므로 현재로서는 HDR 10이 안정적인 옵션입니다.

HDR 10 플러스가 영상 색 관리에 미치는 영향

HDR 10 플러스를 사용하면 영상의 색상이 크게 바뀌고 과도하게 표현될 수 있으므로 그레이딩에 다른 접근 방식이 필요합니다.

특정 모드에서 시작하면 전환 시 호환성 문제를 피하기 위해 해당 모드를 고수해야 합니다.

버전 17에 도입된 HDR 컬러 휠은 훌륭한 기능을 제공하지만 내부적으로 다른 방식으로 작동하므로 조정에 고유한 접근 방식이 필요합니다.

8K 원본 영상에 HDR 도구 사용의 과제

Canon R5의 8K 원본 영상에 HDR 색상 도구를 사용하면 컴퓨터 처리 속도가 상당히 느려질 수 있습니다.

또한 HDR 도구를 사용하면 Resolve의 내부 프로세스로 인해 색 공간 변환 및 LUT에 문제가 발생할 수 있습니다.

HDR용으로 설계되었음에도 불구하고 이러한 도구를 SDR 변환에 사용하면 예기치 않은 버그와 문제가 발생할 수 있습니다.