Gopro13 Gopro Labs Firmware (testing underwater)

[Nando Diver]

 New settings for GoPRO LABS FW (its a work in progress only learn by mistakes made 🫣 ) 

 

information :

Gopro labs extensions

Gopro labs Metadata

Gopro labs discussion forum

GoPro Labs firmware page

Gopro Labs QRcode Generator for IOS

 

 

To reset FW LABS use QRCODE !RESET (then press the shutter three times quickly, this erases all Labs extensions.)

 

Video 

Mode preset HLG/HDR  (personnel choice) 

4K 60FPS 

Lens WIDE

Hypersmooth - ON 

Hypersmooth - Autoboost LCD shows something slightly different that what is recorded (Dont use) 

 

PROTUNE

depth  10-bit 

bit rate high

shutter Auto 

0EV

Auto WB or WBLK=1  

BITR=150

 

ISO min 100 

ISO max 1600 (HDR needs its ISO range to support the dual exposures it uses)

sharpness medium

color natural

PREFS  

Auto off never 

lcd off never

 

 

Edited November 4, 2024 by Nando Diver

[Nando Diver]

At the moment ive created 3 Profiles with Gopro 13, named in easy way to swap profile underwater.

 

AutoWB HLG HDR  (stock) 

HLG 16:9 4K 60 W

 

WBLOCK  

HLG 16:9 4K 60 W

 

GPLOG WB NATIVE (stock) 

Log 16:9 5.3K 60 W

 

From QRcontrol app ive only use the Extras > Feature FourCC 

Create QRcode with BITR=150 (permanent)  and scan the stock profiles 

Create QRcode with BITR=150 + WBLK=1 and scan the remaining profile 

 

To make sure the correct settings Feature FourCC is applied in the correct profile (ex WBLK=1) after the scan reboot the Gopro and record small 5 seconds clips with different profiles.

Export the original file (not cuts or processing) to the computer and use the Gopro Labs Metadata to verify the metadata.

example: 

WBLK 0 (not applied)

WBLk 1 (applied) 

ps: if the box permanent is selected, the Scan will apply to all profiles.

 

 

Edited November 4, 2024 by Nando Diver

[Nando Diver]

Heres a video create using profile WB lock (left) and profile AutoWB from Gopro labs firmware

There was strong currents in the diving spot, it was very difficult to maintained the stability while filming.

 

I notice theres minor color adjustments using AutoWB that are imperceptible to the naked eye. 

 

The big advantage of locking the White balance is keeping the same color temperature even if we move the camera where theres no light reflect to the sensor. 

The disadvantege is start filming to far away or to close from the subject and lock the wrong color temperature.

 

The big advantage of using the AutoWB is filming the same stationary scene getting lights reflected back to the sensor.

The disadvantage is pointing the camera from a stationary scene to wide (empty) area with no light reflection and the background water turns blue to green.

 

For me personally im getting more fan of using locked WB profile.

 

 

 

 

 

 

 

 

 

 

[Nando Diver]

Getting more familiarized with DaVinci Resolve Free Version

 

Here im using DaVinci YRGB color management, HDR, Automatic Mode

Theres some excess of red in second clip, its the reflection of the dive light,  because i was using the profile WB Lock

 

Obviously theres a long way for improvement.

 

 

 

.

[Nando Diver]

 

New firmware for Gopro Labs V1.30.70 

 

According to the FW release notes, now there a "new WBDV" white balance for diving, a semi-automatic WB has the scenery get more blue, the more the red channel is Gain up.

 

In my opinion In terms of FW the Gopro is years ahead of the competition.

 

1.30.70 - November 21, 2024

• Added WBDV - White Balance DiVe improvements. Rather than WARM for improving diving white balance, which effects WB the same at all depths, WBDV is more automatic – as the scene get more blue, the more the red channel is gain up. Currently $WBDV=1 is uses =2.33,4.0 internally (gaining red 4x after red gain hits 2.33), so you can try tuning this yourself e.g. $WBDV=2.4,5.0
• Added SHEL - Using $SHEL=1 enables a command shell for Labs over a USB serial port. Every experimental, and looking for feedback. Connect to COM at 115200 8N1. All QR code command work, just type them. Used $ commands will report their data back to the shell, e.g. $BITR or $A or $p:T to read variables.
• Added OPNW - Open Network (allows of faster non-secure http:// vs https:// to be used with Open GoPro)
• Fixed supporting numbers in FourCC codes in Presets (e.g. preset named “DIVE 24HZ”)
• Fixed d1 and d10 for 10-bit selection
• Fixed voice control enabling in Labs

 

[Nando Diver]

The times ive used Flat color Profile trying to match the Natural Color profile , i never manage to get the colors right in Davinci. 

I just came across this article about Gopro Natural Color VS  Flat color, its worth to read it :

 

A note about Flat Color vs Natural Color

LTM/GTM not Present in Flat Color
Flat color profile doesn’t have any of GoPro’s LTM or GTM applied. LTM being Local Tone Mapping, which is a process that enhances the contrast between objects across the whole image (think clarity filter in Lightroom). GTM is Global Tone Mapping, which is a means of boosting shadows and bringing down highlights. The picture in Natural Color has been redesigned from the ground up and actually starts with a very underexposed image so that it can do a very good job retaining highlights once GTM is applied under the hood. If you compare Natural against Flat, you likely won’t be able to get the same amount of highlight saving even after rigorous color correction. This brings me to my second note: 

Dynamic Range With Flat Color Profile
After extensive testing, I haven’t been able to reproduce quite the same amount of dynamic range when shooting Flat Color as I’m able to get with Natural Color. This is due to the GTM process in the image pipeline that happens under the hood as a sort of faux HDR process. This isn’t to say you can’t shoot in Flat Profile, but a watch-out if you want to get the most range out of the box. It’s also a testament to the advanced algorithms found in HERO11. 

Custom Log Curves with Labs
For those interested in digging a little deeper, HERO11 and Mini offer the ability to load custom log curves when shooting Flat Color using GoPro Labs. Flat Color is in-fact a type of log curve, but if you wish to match log curves from other camera sources, you can load those onto the camera. Something to note is that loading a flatter log profile won’t get you more dynamic range out of the camera, it will just change around how the shadows and highlights are displayed. Good news is that 10-Bit color helps quite a bit when shooting in Flat color since the gradations in colors are so similar.

 

Source: https://abekislevitz.com/hero11-video-settings-guide/

 

[humu9679]

On 11/10/2024 at 11:46 AM, Nando Diver said:

Getting more familiarized with DaVinci Resolve Free Version

 

Here im using DaVinci YRGB color management, HDR, Automatic Mode

Theres some excess of red in second clip, its the reflection of the dive light,  because i was using the profile WB Lock

 

Obviously theres a long way for improvement.

 

 

 

.

 

Looks very good to these untrained eyes!

 

[Nando Diver]

New firmware Gopro Labs 1.30.72 - December 13, 2024

 

• Added variable $f to determine how full the SD Card is. Returns -1 if the SD card is ejected, or storage remaining in GBytes. Use $f:U for storage used in GBytes. e.g. $PMSG="$f GB"!R
• Added support for printing the contents of fourCCs directly "bitrate $BITR" and "Owner $OWNR"are now supported.
• Fixed range time conditional in form >time<time(TRUE)~(FALSE) the else wasn’t be processed.
• Fixed for scripts Photo follow by a sleep.
• Fixed WBDV red channel clipping (overflow).

 

 

PS: in every new firmware update, is always good to test the video metadata from all pre-defined presets, to make sure they are working correctly 

 

For exemple:

 

in my preset B the metadata showing WBLK=1 is active, WBLK=0 not active 

in my preset A the metadata showing DIVE=1 is active, Dive=0 not active 

 

 

[Nando Diver]

Heres some Tips from Gopro labs forum to apply in specific Presets, this way we just need to change preset underwater and is not necessary to scan or laminate the printed QRCODE for underwater use.

 

Ive choose settings for camera mode + resolution  + protune + preferences manually in Gopro etc etc

Named 4 presets, VIDEO, WBLK,  WBDV, GPLOG

 

The codes create with QRCODE are unique and simple to avoid metadata errors.

 

Video im using with AutoWB  

 

*BITR=150 this will be available in all 4 presets even if you reboot (higher bitrate ) 

 

$PRES="0,WBLK" and create a preset named WBLK this will lock the white balance 1 second after recording start, only for the preset WBLK even if you reboot

 

$PRES="0,WBDV" and create a preset named WBDV this is a semi-automatic white balance, has the scene get more blue and the red gaining will be 4X 

 

QRcode start by $ will be disable after reboot except if you use $PRES +  preset name 

QRcode start by * will be permanent too all presets even after reboot 

 

 

 

 

Edited December 17, 2024 by Nando Diver

[shokwaav]

Hi I've also been reading your discussions with dnewman on github.

 

Have you been able to test out the white balance improvements underwater? Mainly curious about the WBDV setting. 

[Nando Diver]

@shokwaav the WBDV had a bug that was fixed on this version.

 

i forget that ive used $pres for WBLK in the past and i though it was a bug.

 

im testing next weekend WBDV, but the water is not blue has i would like.

 

im also very curious about WBDV, at the moment ive configure separate presets for WBDV & WBLK.

 

Ive also put histogram to avoid clipping while using dive lights

 

 

[Nando Diver]

Today ive tried the Gopro labs preset with WBDV=1  

Depth was maximum 18m and with 2x dive lights at minimum about 2500 Lumes each,  there was too much red with gain 4X

 

WBDV is more automatic – as the scene get more blue, the more the red channel is gain up 4x. Currently $WBDV=1 is uses =2.33,4.0 

 

Its seems like with WBDV  i was using a strong red filter, it can be a good feature if you dont use Dive Lights with Gopro, it works better for closed objects or Macro, but for ambient it needs further testing with different values.

At least the AWB dont change drastically.

 

Small video grading using Davinci Resolve with WB locked.. (learning in progress) 

Has usual lot of debris in the Water and some current.

 

No stabilisation correction was used because it creates a weird effect.

ISO was set to 800 

EV Comp -05

Color Natural 

 

 

 

The Gopro Histogram is very handy we can see if the colors are clipping.

Ive delete the WBDV preset and create a new one named WBDV WBLK to test tomorrow.

 

Edited December 20, 2024 by Nando Diver

[shokwaav]

I don't think WBDV or red filters should be used with dive lights due to the mixed light problem. I'd love to see examples of WBDV in ambient lighting.  

[Nando Diver]

On 12/21/2024 at 2:24 AM, shokwaav said:

I don't think WBDV or red filters should be used with dive lights due to the mixed light problem. I'd love to see examples of WBDV in ambient lighting.  

 

Like i mention yesterday the preset WBDV dive gives boost in red 4X, and was to excessive.

Also Yesterday the water has some kind of Broulliard/Fog in the water, meaning theres was less penetration of light at 18m, maybe 10m visibility (everything was darker) 

 

I erase that preset and create the WBLK + WBDV and i had nice improvement, but there a few points i should considerer. 

 

• The water today was unusual blue, like 20m visibility at depth 22m (better light penetration than yesterday) 
• Certain situations/distance i prefer to turn of the dive light if i see too much reddish 
• If im filming with dive lights with preset WBLK and another diver point their torch to the subject the torch light is lightly visible. 
• if im filming with dive lights with preset WBLK + WBDV, and another diver point their torch point to the subject the torch light became strong orange/reddish, the image is completly ruined (heres 2 examples)
• Ps: the dive location is a wreck.

 

 

 

 

 

 

Edited December 22, 2024 by Nando Diver

[Nando Diver]

On the left  WBLK

On the right WBLK + WBDV

 

 

Edited December 21, 2024 by Nando Diver

[Nando Diver]

On the left preset WBLK 

On the right preset WBLK + WBDV 

 

If theres no other torch or dive lights interfering in the picture its possible to use the preset WBLK + WBDV..but the 4X RED boost will react in excess with other an expected light source.

 

 

Edited December 21, 2024 by Nando Diver

[Nando Diver]

Same preset WBLK + WBDV with dive lights turned off 

 

Ps: is visible some unwanted torch light/flash from other diver for couple seconds 

No color grading,SDR to SDR output and crop 8:7 to 16:9

 

 

 

Edited December 21, 2024 by Nando Diver

[Nando Diver]

Another video from today using Gopro Labs WBLK ..No color grading, Natural color, 4k60 etc etc

 

 

 

[Nando Diver]

Last dive of 2024 

 

Gopro 13 FW labs 4K60 8:7 crop to 16:9, no color grading 

 

 

 

[Nando Diver]

A little bit of history about GPLOG and LOG-BASE 400 

 

Copy & Paste from gopro labs by David Newman

 

 

NR01=1 is pretty close to turning all the noise reduction off. However it doesn't disable Bayer processing for things like dead or stuck pixels, and lens shading, all the processing that normalizes the image. Setting NR01=1 and not increase BITR could be an issue for some scenes, as compression will eat noise/detail in maybe a less pleasing way. Yet NR01=1 and BITR=170 (or higher) will have you covered for the more demanding scenes. NR01=50 is simply a 50% blend on the noise reduction path with the source image. NR01=10 is a 10% blend (10% reduced, 90% Source.) NR01=1 is not 1% blend, as at that point it stops blending. The denoise is the stage before compression, so with sufficient bit-rate you can do more denoise after compression (if at all, I often like the natural look.)

 

 

GPLog and Log-base 400
For GoPro users they are not exposing for a classic grey point. The exposure logic in the camera is the same for all color profiles, where ISO 100 is the best dynamic range. My guess, the system exposure is basically a expose to the right system, the brightest reflected objects (white clouds) are set to be near the clipping point, so your dynamic range is in the shadows. The linear light data is then encoded with a curve. For Natural and Vibrant color profiles, that would be a gamma curve, plus global and local tone-mapping, and a lot of GoPro magic look stuff (I don't know the math for.) For Flat color, the GTM and LTM are off, and the curve is Log-base 113. This was development for HERO3 as a optimized encoding curve to preserve the most dynamic range for those sensors. The curve was designed for film and television production for which GoPro was being used extensively for crash cams. Flat using Rec709 color primaries, unless you are using Labs with WIDE=1 (note: the very first HERO2 Protune Flat 24p, use native color for the film projects of the day.) Flat also as a lifted grey point, but again for GoPro, middle grey is not technically important for encoding the best dynamic range. But Flat with a EV at -1 or (-0.5) often produces a nice result with limited or no color correction. GPLog is log-base 400, but otherwise pretty much the same as Flat, no GTM/LTM, but with a wide gamut as the default. The enhanced shadows can maybe get you half a stop more dynamic a range than Flat with today sensors. GPLog was partly to address a user misunderstanding that they already had a Log profile. Back in 2012 when Flat was designed, no consumer camera had a named "Log" profile, and users likely didn't want math terms (I guess.) GoPro was either the first (or very near) consumer camera to have a standard log profile (just called Flat.) Move ahead 10-years, nearly all cameras have a "X-log" naming scheme, so GoPro added a new one, GPLog. You technically don't need as much flatness to the look at log-base 400, but that is now a user expectation. Also other camera systems typically have a lifted black level, adding to the flatten look, but I do not know why these codewords are wasted. All 0-1023 codes are used for image signal in GoPro camera, many others only use 128-960/1023 in their log profiles (maybe a Cineon inspired throwback.) Flat at 113 is perfect for 8-bit, GPLog 400 is optimized for 10-bit, both are full range encoding. GPLog has room to grow.

 

https://github.com/gopro/labs/discussions/1217

Edited 14 hours ago by Nando Diver