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– Level 2 metadata, which is the Dolby Vision v2.9 trimming metadata that’s set by the colorist via the
version 2.9 trim controls available in the Dolby Vision palette of the Color page. This trimming allows
adjustment of how the Dolby Vision image is to be mapped to a target display (such as a 100 nit
BT.709 display) that’s different from the mastering display (such as a 1000 nit BT.2020 display).
The purpose of this metadata is to maintain a program’s artistic intent by providing guidance
from the colorist over how the program’s signal should be fit into the differing luminance ranges
of a variety of displays with different peak luminance capabilities. Manually adjustable Level 2
metadata is only available to DaVinci Resolve Studio users via a license obtained from Dolby.
– Level 3 metadata, which is the offset for Dolby Vision v4.0 added to Level 1 metadata generated
by the analyze buttons in the Dolby Vision controls. It also stores the mid tone offset data.
– Level 5 metadata, which provides information about the aspect ratio of the deliverable format, and
the aspect ratio of the actual image within that format. This metadata is also applicable at the per
clip level.
– Level 6 metadata, which stores the MaxCLL and MaxFALL levels required by the HDR10 mastering
standard of HDR.
– Level 8 metadata, which is the updated Dolby Vision v4.0 trimming metadata that’s set by the
colorist via the v4.0 trim controls available in the Dolby Vision palette of the Color page. This
evolved set of trimming commands allows more detailed adjustment of how the Dolby Vision
image is to be mapped to a target display (such as a 100 nit BT.709 display) that’s different from
the mastering display (such as a 1000 nit BT.2020 display). Just like Level 2 metadata, the purpose
of Level 8 metadata is to maintain a program’s artistic intent by providing guidance from the
colorist over how the program’s signal should be fit into the differing luminance ranges of a variety
of displays with different peak luminance capabilities. Manually adjustable Level 8 metadata is
only available to DaVinci Resolve Studio users via a license obtained from Dolby. Whether you
use Level 2 trim controls or Level 8 trim controls depends on the Dolby Vision version setting you
choose in the Color Management panel of the Project Settings.
NOTE: It’s currently recommended for all users to choose Dolby Vision v4.0 for analysis and
trimming, as it provides superior results. If you’re required to deliver Dolby Vision v2.9
metadata when mastering for backwards compatibility, DaVinci Resolve can now export v2.9
metadata from projects using v4.0 workflows.
The metadata levels described above are current of this writing. However Dolby Vision is a
rapidly evolving technology, and as Dolby adds new features and metadata levels you should
reference Dolby’s website to keep track of the latest developments: https://
professionalsupport.dolby.com/s/article/Dolby-Vision-Metadata-Levels?language=en_US
For the foreseeable future, the current consumer display landscape encompasses a wide variety of
differently performing televisions and projectors that are guaranteed to improve year over year. This
means that mastering for today’s displays may render content less vibrant than content that emerges
five years from now. This can be especially vexing for narrative content that will have a long lifespan
on streaming services as new generations of viewers discover them. While one way of solving this
would be to re-grade your program many times at a variety of nit levels to create deliverables suitable
to a range of display capabilities, that’s an enormous amount of work.
Dolby Vision offers a shortcut by using sophisticated algorithms to derive automatically analyzed
metadata that intelligently guides how an image graded at one nit level (say 4000 nits) can be
adjusted to be perceptually similar to viewers watching a 1000 nit display. Highlights and saturation
that are too bright for a particular display will be adjusted to provide as close to the same experience
without clipping or flattening image detail.
Furthermore, this automatic analysis can be manually trimmed by a colorist to account for the artistic
intentions of the authors of a program, in cases where the automatic analysis doesn’t do exactly what’s
wanted. This combination of auto-analysis and manual trimming is key to how Dolby Vision streamlines
Chapter 10HDR Setup and Grading 220
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