looks so much cleaner i mean it's passable as a legit camera even if i go to like a totally
outrageous color over here you can see my skin is staying pretty much intact but
you can see this is the image where we started out with and this is with everything turned on
hey everyone how's it going just want to say a huge thanks to all the recent love and support
on my iphone 12 pro max video if you haven't already checked it out make sure to click the
card above or the links in the description if you want to wait till after this video
preferably and today i just want to go through what exactly makes dolby vision footage so amazing
but how much better is it than the previous generations of iphones and other camera footage
and how do all the different major nles uh work with it so what i'm going to do is quickly jump
into adobe premiere and final cut pro and we're going to see how dolby vision footage
imports and how well it handles in those software and then we're going to dive a little bit deeper
in davinci resolve since resolve by far is the best software for color grading color correcting
so let's go ahead and jump right in let's start with premiere so premiere here i created a new
project earlier as a test but let's make another one adobe vision test footage here and then you
don't get a ton of options while setting up you can choose where your scratch discs and
everything are going but in terms of the actual project settings the only color management tools
we have here are hdr graphics i saw on a recent update i think about a month or two ago they added
better support for hdr footage so if i just go ahead and do that it's going to open a new project
got a folder here with a bunch of footage a shot and then of course we just start
dragging media into the sequence and we can see that everything's pretty much dropping in
perfectly here interestingly enough and as you'll see in the other two software when you drop it in
they pretty much all drop in overexposed the data is still there but here it's actually
coming in perfectly exposed basically the same way that you see on the phone screen that's
really cool and first i was concerned that it was just converting it to a rec 709 file because
these are rec 2020 hdr adobe vision files but when you actually go through and start making
corrections and adjustments even doing crazy different moves you can see that it is not
breaking too easily one way or the other it's got a really nice wide color range so now i'm going
to jump over to final cut pro again these first two pieces of software i'm not really diving into
actually color grading the files i just want to show you if these are the software of your choice
how the software is handling it and in final cut pro here this actually had the same issue where
when you imported it it looked way overexposed and you had to adjust for highlights but actually just
a couple days ago they came out with a software update to better handle the dolby vision footage
and so now we can see everything is properly exposed in our preview pane over here and in our
media bay and if i go in and create a new project you don't have a lot of color space options to
mess with even if you go to custom you pretty much only have these three options so it doesn't look
like you can output in rec 2020 maybe if you send it to compressor after you're done but you are
going to be working in a rec 709 timeline space now when you drop it in you'll notice how blown
out the image actually is but you get a pop-up now that basically says adding hdr clip to sdr project
bright content will be clipped in the project to adjust the image brightness apply color correction
effect or apply the hdr tools and mess with those and it's really as simple as again just going into
your color corrector heading over to the exposure grab the highlights and bring those puppies down
and if you want to check your scopes you can go command 7 and you can see that all that data is
still there so if i reset it you can see that again it's just pushing the highlights majorly
and as we bring them down nothing is actually clipped all that data is still there now if i
go to here for example grab this one bring it all the way down now any phone out there is going to
clip when you shoot straight into the sun so we can see our in our image over here uh the
sun obviously is clipped and we can see that represented over here in the graph no matter
how much i lower it it is always going to be remained clipped but everything else comes back
and obviously you can go in and flatten it and you can just do so much to this footage it's
kind of ridiculous you also can go down here to the effects panel and go over to go over to color
and then hdr tools you can grab that and then here defaults hdr to rec709 but it's still blown so you
can go to hlg to rex 709 and that's gonna set it up as well again you could like save this as
a color preset and just apply to all your clips if you wanted to all right so now let's hop into
davinci resolve and i am using version 17 which is currently out in beta it's announced a couple days
ago just because this has some new tools that are amazing and once again proves that davinci
resolve is pretty much the only option for anyone serious about color work it kind of makes all the
other software look like child's play okay now in resolve you have way more options when it
comes to your actual project setup and so you can screenshot this or whatever you need to do there's
a handful of combinations four color spaces that i found to work pretty closely but so far this is
the best one i've come up with i've changed it in the past couple videos as i've played with it more
but i recommend changing the color science to uh the color managed version it's going to default
to the top one but this is going to give you the extra controls we're going to go hdr rec 2020 for
basically the input that's what type of footage it's bringing into the timeline and then it's
going to output that timeline in a rec 2020 and if we go and look at some of the footage i've already
dropped in here you can see that everything from an exposure standpoint is pretty good it's a
little hot in certain places but mostly it's just kind of a little funky colors a little desaturated
very much looks in the way that hdr footage looks kind of right off the bat before someone really
goes in and color corrects it so now let's head to the color page and see everything that we can do
we got some scopes off to the side here but i'm going to bring my four up so we can see a bit
more and the first thing i want to point out is actually i shot just this clip a couple minutes
ago just of my face and this is just me holding this is the main sensor out of the pro max and
just in the stock camera app of course for the adobe vision and you can see that it's sharp on
my face everything is well exposed i haven't made any corrections yet and you can see not blowing
any highlights shadows are all good and you can see we even have some natural bokeh going on
with the computer monitor being slightly out of focus because of the bigger sensor in that camera
now here i actually shot the same exact style of clip with my iphone 10s max and you can see
right off the bat the huge difference between these two one the computer screen is more in
focus just because it's a smaller sensor but more importantly than that you can see how
terribly overblown both the highlight part of the computer screen as well as the splotchy
the basically harsh spots in my face here and if we look over at the scopes these solid lines
means that that data is gone so even if i lower it here all the way down the remaining flat lines and
so that's not good because that's not really being recovered i can go over here to the highlights and
you can see it's going to try to pinch it but then it just starts looking ugly really really quickly
and yeah you're not doing a whole lot to this image without it just completely breaking apart
and becoming super ugly now again if i go back to the dolby vision clip here you
can see i look almost like sticking green but we can go in and pretty much quickly
change that because again we have all this data to work with and i'm just going to
quickly go through and do a quick kind of color correction on this so you can see the difference
all right so that looks pretty good to me everything is well within the scope still and i
basically went through and first made some basic exposure contrast corrections then i actually
went in and highlighted my face and to do some skin tone adjustments this with like the 8-bit
footage would be near impossible we'll see and test it out in a second to see how well it works
um but this gives us a lot of data to select just the skin tone region i could have gone even
more and masked this out so it didn't get the computer monitor at all but that's fine and then
i even applied a film lut to it which is something that can very easily break normal phone footage
and then i rounded it off with just a very slight vignette now what i'm actually going to do here
is grab a still which for those of you who are not resolved users essentially captures everything
that i did over here in the nodes and i'm going to go back to this clip right here and i'm just
going to apply it and it's going to do the same exact actions on this clip and if this was another
dolby vision clip shot in the same spot it would relatively look the same if i go back over to this
skin tone mask see how many holes in the splotchiness and pixel and that shows you how much
less color information is available for it to grab we can see here that both the highlights and the
shadows are crushed try and lift i can lift some of the shadows back but as we talked about before
highlights can come down a little bit but we're still missing the data from those harsh spots here
and on the computer are completely gone not to mention my entire shirt here totally gone even
if i go to highlight control it's really just dimming it it's not bringing any information back
going to the same spot looks so much cleaner you can tell my shirt is completely still
properly exposed no harsh spots and this i mean it's passable as a legit camera i'm actually
like super impressed and happy with how this is looking all right and next we're going to jump to
this clip right here um again if we look at it we from the scope's point of view everything is well
exposed and so i'm going to show you a new tool in here i'm going to do a basic correction first
all right so i went through and made the correction and even add
a little uh creative on top of it just add a little bit of style and so we're going to
check out this spiderweb looking thing called the color warper this is brand new this thing
is awesome so it's basically a tool to adjust the hue and saturation all at once they also have a
secondary tool that is chroma versus luma if you want to know the difference just have your mouse
over them but for right now we're primarily going to stick to huever saturation it's really cool is
if you hover your mouse over the image you can see down here at the bottom on the color warper
it's basically picking what part of the image is that color so for example
my windbreaker here is has kind of a bluish tint to it and so i can click on that and you can see
down here in the color warper it's added a red dot to basically save the zone and essentially
i'm going to drag now the further i drag out i'm adding saturation back in if i go to the center
i'm desaturating that specific color so you can see the green and my skin tones are all staying
the same it's changing any of the surrounding colors here so mainly the jacket you can also see
the sky is changing if i go more green but even if i go to like a totally outrageous uh
color over here you can Hi! see my skin is saying pretty much
completely intact now the other quicker way to do it is instead of clicking data point and dragging
down here you can actually just click and drag and watch the color warper down here so i'm going
to click on my skin here and then you can see it sets the point but now i'm going to keep holding
and now i'm actually moving that point so again i can go towards the middle if
i wanted to desaturate towards the edge if i wanted to saturate or just move it around
to adjust both uh slightly here color warper is a really cool added edition
alrighty and finally i want to show you the biggest coolest thing that they added in resolve
17 so we all know the primary wheels here but they've actually added a whole new set of six hdr
uh color wheels here so essentially what you have here is instead of
shadows mid-tones and highlights it breaks it down uh using the ansel adams method and it breaks it
down even more specific so now we have black dark shadow light and then you have highlight
and specular my favorite part about the hdr tools is this little button above each of the
color wheels if you click and hold that button it's actually showing you the parts of the image
that will be affected by that color wheel so this everything you see in the image is the
specular highlights if i click on here here's the highlights and so i can go here and go okay
specular highlights i have my exposure settings my saturation and of course my normal color wheel
so i can go in here and i can lower my speculars or i want to pop off a bit but not too high
i'll bring them just under clipping checking out my scopes here and then i want to find kind of the
mid tone so i'm going to go over to light i think that's where most of it is yeah so that's where
most of the image kind of resides i want to bring this down a bit now for my highlights just to make
it stand out i'm going to actually raise those a bit adding back in some contrast that i took away
in the light section you can see my shadows so i want to keep those wheels looking nice and
black now this image i didn't need to mess with much of the actual color wheels changing the hues
and there's a ton of other tools but again the primary point in this video was to show you how
flexible the dolby vision footage from the iphone is i mean you can really go in here and
i can really start to make a pretty dramatic look out of this so if i wanted to kind of
roll backwards here let me pick something that's really stylized yeah so this fury one for example
this is what i was talking about before where someone would be like oh i want it to look like
blue hour so i'm just gonna slap this day for night on top of it and call it a day and
actually i'm gonna go through and see what we can do to correct this all right so i'm pretty happy
with this if i turn off all effects real quick you can see this is the image where we started
out with and this is with everything turned on again we're going for that like blue hour
kind of dusk vibe and so you can see that it still has a hint of blue it's on the cooler side
but what i did was bring back the actual color of the car i left some of the blue more touching the
specular highlights so the car itself is still maintaining all of the colors so this is what it
looks like if you literally just slap the lut on the footage itself and this is what it looks like
when you actually go through and color correct it bringing back the proper colors and the fact that
this 10-bit dolby vision footage from an iphone was able to handle all those corrections but yeah
that's it for now guys let me know down in the comments below what you think about this footage
i am by far impressed with what the pro max was able to do with the bigger sensor and just the
dolby vision footage itself is so flexible and awesome that way beyond anything i've
seen in the phone so far yeah thanks so much for watching guys and i'll see you in the next video