Page 2 of 2 FirstFirst 12
Results 11 to 14 of 14
  1. Collapse Details
    #11
    Senior Member
    Join Date
    Feb 2013
    Location
    Sydney, Australia
    Posts
    651
    Default
    Quote Originally Posted by hopkins802 View Post
    In the cases where I use Handbreak vs Encoder, it will be for videos that I push to Vimeo.
    With regard to coming up with a HB preset for HD video using the x.264 library that is easy enough to do. I would agree with CK that for upload to Vimeo that there is no great benefit to going much above Vimeo's recommended bit rates for HD and 2K. Sticking to the higher rates for hi complexity hi motion vision. I've tried higher bit rates and never really seen any noticeable difference from a viewers point of view. Just for clarification When you say all published videos are 24p do you mean "Hard 24p" the DCI spec for DCP or 23.976 for most other distribution channels?

    You mention UHD. That can be a totally different kettle of fish. If you only want to create UHD with Rec 709 characteristics your basic 8-bit Rec 709 Color Primaries and matrix coefficients out of Handbrake will produce a good encode if it is being viewed on a basic Rec 709 range PC monitor I'm pretty sure would suffice for most people.

    But and it is a BIG but are you wanting to create UHD dimension videos that comply with HDR display requirements? If so and are uploading to Vimeo you really need to comply with Vimeo's recommended 10-bit HDR requirements so that your videos are interpreted correctly if viewers are watching those videos on HDR TVs/monitors that support PQ SMPTE 2084 or HLG transfer function. If this is your aim then Handbrake won't make the grade as 10-bit HDR Mastering Display Color Volume metadata (SMPTE 2086) and Content Light Level Information metadata (CEA 861.3) is required for the correct display of HDR material when uploading to Vimeo. This metadata is usually added automatically in post-production.

    HDR metadata brings up another question. Is the software, the NLE you are editing with embedding the above SMPTE 2086 and CEA 861.3 information into your UHD master file encode data stream?

    Advice on complient H.265 UHD/4K 422 10-bit PQ SMPTE 2084 HLG master encoding I can't advise on as so far I have never been pushed to learn this due to lack of demand my end for such encodes. I have experimented with Handbrake's x265 in 10-bit encoding and it is pretty good but it is still delivers a Rec 709 420 color set with BT.709 Color primaries, Transfer characteristics and Matrix coefficients. At this point in time Handbrake doesn't appear to support full 10-bit color Color primaries, Transfer characteristics and Matrix coefficients for HDR output. Hopefully it will eventually.

    So yes I can knock out an HD x264 preset of around 50-60Mbps and a UHD preset of between 80-100Mbps as long as you are aware that the UHD preset will be limited to HD Rec 709 color space. Would you want a 10-bit 420 x265 preset? If you can confirm on the above I will create the presets you require.

    https://vimeo.com/help/compression

    Edit: Just doing some experimentation in Resolve 16 and using color transforms you can select your HDR 2084 output so, I haven't tried it, but would assume then that any render output from Resolve should be carrying the necessary HDR information flags.

    Chris Young

    Vimeo color.JPG
    Last edited by cyvideo; 05-14-2019 at 03:42 AM.


    Reply With Quote
     

  2. Collapse Details
    #12
    Senior Member Cary Knoop's Avatar
    Join Date
    Jan 2017
    Location
    Newark CA, USA
    Posts
    1,492
    Default
    Quote Originally Posted by cyvideo View Post
    Advice on complient H.265 UHD/4K 422 10-bit PQ SMPTE 2084 HLG master encoding
    There are two main HDR encodings one using a PQ gamma curve (Rec.2100 ST2084) and one using a hybrid Rec.709 and log curve (Rec.2100 HLG).

    Both Vimeo and YouTube support HDR10 and HLG.
    Resolve version 16, which is in early beta, supports encoding with the right metadata for direct upload provided you set the correct colorspaces (make sure to use the Rec.2100 ST2084 for HDR10).
    Last edited by Cary Knoop; 05-14-2019 at 09:03 AM.


    Reply With Quote
     

  3. Collapse Details
    #13
    Senior Member
    Join Date
    Mar 2015
    Posts
    199
    Default
    Quote Originally Posted by Cary Knoop View Post
    Where did you get 17mb/s from?
    Sorry I read CRF 16-17 as CBR 16-17 (constant bitrate or 16-17mbps), vs the constant rate factor. I'm still super new to Handbrake, but I'll start messing around with it I guess. Other than that CRF recommendation, do you have any others? End deliverable is usually at 1080p or 2K 16x9, uploaded to Vimeo.

    Thanks!


    Reply With Quote
     

  4. Collapse Details
    #14
    Senior Member Cary Knoop's Avatar
    Join Date
    Jan 2017
    Location
    Newark CA, USA
    Posts
    1,492
    Default
    Quote Originally Posted by hopkins802 View Post
    Sorry I read CRF 16-17 as CBR 16-17 (constant bitrate or 16-17mbps), vs the constant rate factor. I'm still super new to Handbrake, but I'll start messing around with it I guess. Other than that CRF recommendation, do you have any others? End deliverable is usually at 1080p or 2K 16x9, uploaded to Vimeo.
    Since everything is re-encoded by YouTube and Vimeo the focus should be on a constant quality encoding.
    Note that there is an exception for Vimeo but only if you want to make a video available for download, in that case providing a high-quality source is warranted.


    Reply With Quote
     

Page 2 of 2 FirstFirst 12

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •