MakeMKV support forum
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L5 can only change at the rpu scene cuts(refresh flag) and there is no scene cut at frame 203356.FonduemangVI wrote: Wed Aug 02, 2023 1:25 pm @RESET_9999 Hey would you be able to explain what the FraMeSToR illegal L5 change at frame 203356 for GotG Vol 3 is?/why it's illegal?
Nope, I've tested LG C9 only.RESET_9999 wrote: Wed Aug 02, 2023 12:26 pm Have you tested if the file works on older LG TVs ? (2018 or older)
L1 Analysis Tuning:
Index Title
0 Legacy CM4 L1
1 Most Highlight Detail/Most Mapping
2 More Highlight Detail/More Mapping
3 Balanced
4 Less Highlight Detail/Less Mapping
5 Least Highlight Detail/Least Mapping
Analysis tuning provides user control over the strength of filtering used during analysis. Six options are
provided that match the options found in partner tools after updating to the 2023 New CM4 L1. As the
index increases, so does the amount of filtering, lowering the L1 max.
Stronger filters may result in clipping of fine details in the highlights while reducing the amount of
mapping. By default, cm_analyze uses the 1 – Most Highlight Detail / Most Mapping
with the intent of preserving as much highlight detail as possible, with the exception of when the --
live-infinite-filter option is invoked. In this case, the analysis defaults to 0 – Legacy CM4
L1 to match the Dolby Live Distribution Processor product
Dolby is please to announce the immediate availability of the Dolby Vision Professional Tools v5.4, available now at customer.dolby.com.
New Feature Summary in this release
New L1 analysis features in cm_analyze
Added 2023 New L1 frame statistics algorithm with user-tuneable spatial filtering, new hybrid mid measurement, unified gamut analysis, and improved black measurement.
New statistics are enabled by default, and tuning can be adjusted using --analysis-tuning <arg>
See the user manual for more information
Older frame statistics are available using --legacy-cm4-l1
Improved file-based long play analysis algorithm
New temporal smoothing algorithm
New backwards compatibility metadata for frame-by-frame analysis
New difference detection to group scenes together
Added --live-infinite-filter to match analysis done in Dolby's Live Distribution Processor
Added new stereoscopic analysis for shot based and file based / frame-by-frame analysis. Right eye view can be added using --input2 <rightEye>
Added new global looks that can be added to your analysis, using --global-trims <globalLook.xml>.
See the user manual for more information
--source-format now requires both the transfer function (pq) and color gamut (p3d65 or bt2020)
• Added new functions in metafier for handling per-shot L5:
--validate performs new checks & reports
looks for and validates per-shot L5. An error will be reported if the per-shot canvas does not match the global canvas
Examines CM 4 XMLs (v4.0.2 & v5.1.0) for "illegal" legacy L1 values.
Separate count for default Target ID 1 L8 trims
--aspect-ratios <arg1> <arg2> now updates canvas of per-shot L5 and removes
See the user manual for more information
--preserve-per-shot-active preserve the current global active aspect ratio as per-shot L5 when updating aspect ratios
--global-trims <globalLook.xml> can inject a global look by applying specified trims to all shots & frames within an existing XML
See the user manual for more information
Cm_offline improvements:
Added new 300 nits P3D65 & BT.2020 targets to cm_offline
Added flag --skip-qt-st2086-min-check to permit cm_offline to continue when a QuickTime MOV's ST.2086 minimum (mdcv) does not match the Dolby Vision master display minimum
Bug fixes in this release
Fixed minor analysis bugs from 5.4-beta-1
Fixed an issue with rejecting 4:2:0 subsampled jpeg2000 files.
Known issues
Some shell environments may require the use of quotes for each input XML file when using the command line reel frame range option
You can access the new product here:
https://customer.dolby.com/content-crea ... tools-v540
Best regards,
Dolby Laboratories, Inc.
I really need thisRESET_9999 wrote: Wed Aug 02, 2023 2:38 pm interesting new options in the new dolby vision tools pack:
https://slow.pics/c/5irgGGKG
L1 Analysis Tuning:
Index Title
0 Legacy CM4 L1
1 Most Highlight Detail/Most Mapping
2 More Highlight Detail/More Mapping
3 Balanced
4 Less Highlight Detail/Less Mapping
5 Least Highlight Detail/Least Mapping
Analysis tuning provides user control over the strength of filtering used during analysis. Six options are
provided that match the options found in partner tools after updating to the 2023 New CM4 L1. As the
index increases, so does the amount of filtering, lowering the L1 max.
Stronger filters may result in clipping of fine details in the highlights while reducing the amount of
mapping. By default, cm_analyze uses the 1 – Most Highlight Detail / Most Mapping
with the intent of preserving as much highlight detail as possible, with the exception of when the --
live-infinite-filter option is invoked. In this case, the analysis defaults to 0 – Legacy CM4
L1 to match the Dolby Live Distribution Processor productDolby is please to announce the immediate availability of the Dolby Vision Professional Tools v5.4, available now at customer.dolby.com.
New Feature Summary in this release
New L1 analysis features in cm_analyze
Added 2023 New L1 frame statistics algorithm with user-tuneable spatial filtering, new hybrid mid measurement, unified gamut analysis, and improved black measurement.
New statistics are enabled by default, and tuning can be adjusted using --analysis-tuning <arg>
See the user manual for more information
Older frame statistics are available using --legacy-cm4-l1
Improved file-based long play analysis algorithm
New temporal smoothing algorithm
New backwards compatibility metadata for frame-by-frame analysis
New difference detection to group scenes together
Added --live-infinite-filter to match analysis done in Dolby's Live Distribution Processor
Added new stereoscopic analysis for shot based and file based / frame-by-frame analysis. Right eye view can be added using --input2 <rightEye>
Added new global looks that can be added to your analysis, using --global-trims <globalLook.xml>.
See the user manual for more information
--source-format now requires both the transfer function (pq) and color gamut (p3d65 or bt2020)
• Added new functions in metafier for handling per-shot L5:
--validate performs new checks & reports
looks for and validates per-shot L5. An error will be reported if the per-shot canvas does not match the global canvas
Examines CM 4 XMLs (v4.0.2 & v5.1.0) for "illegal" legacy L1 values.
Separate count for default Target ID 1 L8 trims
--aspect-ratios <arg1> <arg2> now updates canvas of per-shot L5 and removes
See the user manual for more information
--preserve-per-shot-active preserve the current global active aspect ratio as per-shot L5 when updating aspect ratios
--global-trims <globalLook.xml> can inject a global look by applying specified trims to all shots & frames within an existing XML
See the user manual for more information
Cm_offline improvements:
Added new 300 nits P3D65 & BT.2020 targets to cm_offline
Added flag --skip-qt-st2086-min-check to permit cm_offline to continue when a QuickTime MOV's ST.2086 minimum (mdcv) does not match the Dolby Vision master display minimum
Bug fixes in this release
Fixed minor analysis bugs from 5.4-beta-1
Fixed an issue with rejecting 4:2:0 subsampled jpeg2000 files.
Known issues
Some shell environments may require the use of quotes for each input XML file when using the command line reel frame range option
You can access the new product here:
https://customer.dolby.com/content-crea ... tools-v540
Best regards,
Dolby Laboratories, Inc.
new beta is available. You need to update your cm_analyze.exe (can be downloaded on dolby website)qwertiio wrote: Thu Aug 03, 2023 11:01 am I really need this
btw, any eta for this update on the script????
It also works well on my C2 but the 2018 or older TV are more picky in regard of DV MP4.
Sorry to reply to you directly but would you able to confirm my question on profile 8 hybrids? I can't find a diffinitive answer and it seems like EVERYONE is encoding with profile 8 hybrid formats now. I'm not seeing ANY native profile 5 formats any longer :-/. Do you see this as an issue? This is in reference to P5 streams combined with hdr10/+ streams, not hdr10 blurays that are combined with a p5 stream.
I tested DV-Profile 8.1 with my Oppo, it played only HDR. Built-in Player in my Sony XR 90 plays Dolby. That is a pity, because ver 1.3 is really fast. Only ver 1.0 works reliable for my Oppo.RESET_9999 wrote: Thu Aug 03, 2023 2:09 pm
if anyone with old LG TVs could test the latest beta script, workflows 7-2, that would be great.
making p8 hybrid is not an issue as long as you make sure the P5 and HDR10 encode are the same brightness/master. I have a huge excel sheet about it in my signature.EncodeThis420 wrote: Thu Aug 03, 2023 2:38 pm Sorry to reply to you directly but would you able to confirm my question on profile 8 hybrids? I can't find a diffinitive answer and it seems like EVERYONE is encoding with profile 8 hybrid formats now. I'm not seeing ANY native profile 5 formats any longer :-/. Do you see this as an issue? This is in reference to P5 streams combined with hdr10/+ streams, not hdr10 blurays that are combined with a p5 stream.
Thanks. This is kind of what I was afraid of. There's really no way (for a normal person like myself) to tell whether a "hybrid" encode was done properly. I'm basically seeing ONLY hybrid files for all new streaming shows being encoded. These encoders are not posting the original profile 5 sources which is absolutely infuriating. I rather just grab P5 versions so that I know that it has the correct brightness. Why in the world are people not doing this? What changed? Is there any possible way to like "reverse engineer" these files to split back out the p5 stream? or is that impossible?RESET_9999 wrote: Thu Aug 03, 2023 4:49 pmmaking p8 hybrid is not an issue as long as you make sure the P5 and HDR10 encode are the same brightness/master. I have a huge excel sheet about it in my signature.EncodeThis420 wrote: Thu Aug 03, 2023 2:38 pm Sorry to reply to you directly but would you able to confirm my question on profile 8 hybrids? I can't find a diffinitive answer and it seems like EVERYONE is encoding with profile 8 hybrid formats now. I'm not seeing ANY native profile 5 formats any longer :-/. Do you see this as an issue? This is in reference to P5 streams combined with hdr10/+ streams, not hdr10 blurays that are combined with a p5 stream.
Most of the p2p or scene groups make hybrid without checking any of this and it is a problem especially if they are not going to release the profile 5 source which seems to happen more frequently lately.
While most of the time, the P5 and HDR10 encode are from the same source/master, it doesn't mean it will always be the same, and making hybrid releases blindly is wrong.
And sometimes studios decide to deliver different trim pass even though it's from the same master.
two examples I came across recently:
Black Widow profile 5 iMAX is much brighter than the HDR10 IMAX web-dl: https://slow.pics/c/zzHW5Qhv
And recently Hot Pursuit (which FLUX only released hybrid P8): https://slow.pics/c/37t2bB4J
My fixes were focused on DV-Profile 7 (dual track), but it is possible that version 1.3.2 will also work with the Oppo.Chisum04 wrote: Thu Aug 03, 2023 3:56 pm I tested DV-Profile 8.1 with my Oppo, it played only HDR. Built-in Player in my Sony XR 90 plays Dolby. That is a pity, because ver 1.3 is really fast. Only ver 1.0 works reliable for my Oppo.
I stopped grabbing p8 hybrids earlier this year when I learned all of this. There is really only one uploader that I trust.EncodeThis420 wrote: Thu Aug 03, 2023 5:08 pmThanks. This is kind of what I was afraid of. There's really no way (for a normal person like myself) to tell whether a "hybrid" encode was done properly. I'm basically seeing ONLY hybrid files for all new streaming shows being encoded. These encoders are not posting the original profile 5 sources which is absolutely infuriating. I rather just grab P5 versions so that I know that it has the correct brightness. Why in the world are people not doing this? What changed? Is there any possible way to like "reverse engineer" these files to split back out the p5 stream? or is that impossible?RESET_9999 wrote: Thu Aug 03, 2023 4:49 pmmaking p8 hybrid is not an issue as long as you make sure the P5 and HDR10 encode are the same brightness/master. I have a huge excel sheet about it in my signature.EncodeThis420 wrote: Thu Aug 03, 2023 2:38 pm Sorry to reply to you directly but would you able to confirm my question on profile 8 hybrids? I can't find a diffinitive answer and it seems like EVERYONE is encoding with profile 8 hybrid formats now. I'm not seeing ANY native profile 5 formats any longer :-/. Do you see this as an issue? This is in reference to P5 streams combined with hdr10/+ streams, not hdr10 blurays that are combined with a p5 stream.
Most of the p2p or scene groups make hybrid without checking any of this and it is a problem especially if they are not going to release the profile 5 source which seems to happen more frequently lately.
While most of the time, the P5 and HDR10 encode are from the same source/master, it doesn't mean it will always be the same, and making hybrid releases blindly is wrong.
And sometimes studios decide to deliver different trim pass even though it's from the same master.
two examples I came across recently:
Black Widow profile 5 iMAX is much brighter than the HDR10 IMAX web-dl: https://slow.pics/c/zzHW5Qhv
And recently Hot Pursuit (which FLUX only released hybrid P8): https://slow.pics/c/37t2bB4J
Is there any way that you could share which uploader you trust? Not sure of the rules here or if you can even send private messages. Feel free to decline if I am crossing a line.bobbymkV wrote: Thu Aug 03, 2023 8:05 pmI stopped grabbing p8 hybrids earlier this year when I learned all of this. There is really only one uploader that I trust.EncodeThis420 wrote: Thu Aug 03, 2023 5:08 pmThanks. This is kind of what I was afraid of. There's really no way (for a normal person like myself) to tell whether a "hybrid" encode was done properly. I'm basically seeing ONLY hybrid files for all new streaming shows being encoded. These encoders are not posting the original profile 5 sources which is absolutely infuriating. I rather just grab P5 versions so that I know that it has the correct brightness. Why in the world are people not doing this? What changed? Is there any possible way to like "reverse engineer" these files to split back out the p5 stream? or is that impossible?RESET_9999 wrote: Thu Aug 03, 2023 4:49 pm
making p8 hybrid is not an issue as long as you make sure the P5 and HDR10 encode are the same brightness/master. I have a huge excel sheet about it in my signature.
Most of the p2p or scene groups make hybrid without checking any of this and it is a problem especially if they are not going to release the profile 5 source which seems to happen more frequently lately.
While most of the time, the P5 and HDR10 encode are from the same source/master, it doesn't mean it will always be the same, and making hybrid releases blindly is wrong.
And sometimes studios decide to deliver different trim pass even though it's from the same master.
two examples I came across recently:
Black Widow profile 5 iMAX is much brighter than the HDR10 IMAX web-dl: https://slow.pics/c/zzHW5Qhv
And recently Hot Pursuit (which FLUX only released hybrid P8): https://slow.pics/c/37t2bB4J
I suggest this is better to be taken offline into private discussion. My suggestion is just consider paying to watch on your favourite streaming platform, if the possibility of poor DV metadata bothers you this much from said "other" sources. As for why the prevalence of profile 8 DV hybrids now over p5/p8 split before: compatibility and saving time/bandwidth. Cheers.EncodeThis420 wrote: Thu Aug 03, 2023 8:43 pmIs there any way that you could share which uploader you trust? Not sure of the rules here or if you can even send private messages. Feel free to decline if I am crossing a line.bobbymkV wrote: Thu Aug 03, 2023 8:05 pmI stopped grabbing p8 hybrids earlier this year when I learned all of this. There is really only one uploader that I trust.EncodeThis420 wrote: Thu Aug 03, 2023 5:08 pm
Thanks. This is kind of what I was afraid of. There's really no way (for a normal person like myself) to tell whether a "hybrid" encode was done properly. I'm basically seeing ONLY hybrid files for all new streaming shows being encoded. These encoders are not posting the original profile 5 sources which is absolutely infuriating. I rather just grab P5 versions so that I know that it has the correct brightness. Why in the world are people not doing this? What changed? Is there any possible way to like "reverse engineer" these files to split back out the p5 stream? or is that impossible?
But yea. I just don't understand it.....uploaders who used to upload source P5 materials just randomly all switched to uploading P8 files. I have no idea what happened. I legit cannot find any P5 files of recent streamed shows. They're literally all P8 lol. If they know that P8 files are bad form....then why do they keep doing it?