Alright, I REALLY don't understand this (which is absolutely possible) or we are talking about slightly different things. I have attached a screenshot from my workspace to maybe aid the discussion:
I have loaded the HLG2 footage, set up my RCM and increase luminance to 200 nits. I haven't applied any color correction or grades. The footage is as shot in camera.
As you can see on the screenshot, the subtitle, which has been set to white, sits somewhere below 896 in the waveform. As it is pure white, so the brightest it can be, shouldn't it be on top at 1023?
Answers to the other questions:
I am working & monitoring on a computer monitor. The final delivery will be rec.709 intended for computer monitors. I don't use BMD Hardware cards. As I am a photographer, my computer monitor is (color) calibrated. But you probably mean something else...
Cary Knoop wrote:Assuming you deliver for Rec.709 limiting timeline luminance has nothing to do with limiting dynamic range.
Okay, in my head the rational was higher nits equals more room for luminance equals more room for data equals more detail?
Cary Knoop wrote:The principle is really simple you set the input transform to the gamma and gamut you recorded with, the timeline transform you can set to your liking, typically that would be Rec.709 or, if you prefer, a log format and the output transform is the gamma and gamut for which your monitor is calibrated and your deliverable format, which typically will be Rec.709 or HDR provided you have a HDR monitor or DCI P3 for digital movie formats.
Yes, I know this part. That's why I like this workflow so much. But if you can point me to any resources that go into greater detail on that, I'll be happy to study that on my own.
Thanks.