Digital Cinema Setting

Get answers to your questions about color grading, editing and finishing with DaVinci Resolve.
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Msaminassar

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  • Joined: Thu Jan 17, 2019 4:43 pm
  • Real Name: M Sami Nassar

Digital Cinema Setting

PostThu Jan 17, 2019 5:04 pm

Hi,

I have a Feature Movie Shot with Alexa SXT , Files Arri RAW and I want to know the right color processing and Timeline setting for my Davinci Resolve ( Regarding the timeline color space and GAMMA ) to get the best quality as my intention is to switch to P3 color space or It is better to grade on 709 and let the DCP softwares make the proper color conversion to p3


My Monitor: ( SONY PVMA-250 " OLED )
Software: Davinci Resolve 15
output: DCP

Thank you
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Igor Riđanović

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Re: Digital Cinema Setting

PostThu Jan 17, 2019 7:04 pm

It's better to work in a wider gamut. It looks like your display supports P3. If it's properly calibrated for P3 all you need to do is set the output color space in Resolve's RCM to DCI-P3. The data levels would probably need to be "full" but that could on the display calibration.

The input and the timeline color spaces are negotiable. The input should match the gamma and color space of the majority of the source material (you can also override color profiles on per clip basis in the bin). The timeline color space should be sufficiently wide and give you a good control parameter response.
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Dermot Shane

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Re: Digital Cinema Setting

PostThu Jan 17, 2019 7:34 pm

one more thing to consider is if the show needs to use the greater gamut of p3, and if the drawbacks of the greater gamut is worth the trade off's

i typicaly screen a base pass in P3, and decide then, most films do not come close to useing the gamut of 709 anyway, and the drawback to P3 is un-intended saturated objects that need to be controled, like red taillights near a red stop sign at night inP3 are super bright, and in 709 a dull orangy-red, so in P3 the stop sign and taillight need to be controled in some manner if one wants to see the actor in a shadow roll out of the car... not an issue in 709, extra work in P3

is what P3 brings to the party worth the issues it creates?

sometimes the answer is clearly yes, others, often, not so much....

i grade in ACEScct, and select ODT's to match monitoring, IDT's match camera, working space is wider than the human eye can see already, tools are no where near as well mapped in Resolve as they are in Baselight and Nocoda tho

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