Color Deliverables form P3D65 to Rec709

Hi everyone,

I’m having issues converting my project for the web. I graded the project in P3 D65 Gamma 2.6 and duplicated my timeline changing only the output colour space to Rec709 Gamma 2.4. I was under the impression that this was all I need to do (more or less). Though comparing my vectorscope between the two timelines and there is a significant saturation boost and magenta shift in the Rec709 timeline. I’m at a loss for what is causing this especially considering that I was expecting the Rec709 timeline to drop in saturation if anything.

I have no clue how to move forward and really don’t want to use an additional node to compensate for the saturation and magenta shift in my Rec timeline. There may be a bigger issue at play given that my CIE Chromaticity scope is showing me a Rec709 container despite my DWG timeline...

Any hits would be greatly appreciated!

Color Management is key and one of the best to explain such is Cullen Kelly:
https://www.youtube.com/@CullenKelly

Also, if I am not mistaken, the targets on the Vectorscope are only accurate for Rec.709

Why did you decide to grade in P3? Is your main target DCP for cinema? Is your monitor calibrated for P3? Why have you got several odd custom settings, such as 400 nits?

The normal way of dealing with this is having a series of nodes, as a starting point with a CST at the input and output. HDR is normally rec.2020 or HLG @600-1000nits or more. For SDR, even for most cinema DCPs Rec. 709 @100 nits is more usual and often recommended.

Have a look here, and have a look at other videos by Darren. He's a very experienced colourist and a great teacher. There is even a template for base nodes, available for download, if you sign up to his newsletter:

Thanks for the suggestion Jeffrey. I've seen his videos which is why I'm lost as to why its not as simple as just changing the output colour space with DVCM like the Manual says...

Hey Steve, I'm grading in DCI P3 because its the largest gamut my reference monitor (an ASUS PA279CRV) can display. I've set it to 400nits also because its the max my monitor can reproduce as well. As for the several odd custom settings... the workflow is a bit of a mess as the footage was shot with a Sigma FP and recorded with an Atomos Ninja V in ProResRaw which DV does not recognize (!) so I've had to convert the footage back into CDNG and go from there. I've inherited these settings from others that have been doing the same thing but that does not mean they are the right settings... Also yes, my main deliverable is DCP for cinema and I figured it should be easy enough to "mix down" to REC709 for the web.

I'll re-watch Darren's video. I was really hoping to get away with using a Color Managed workflow without CST's but it does seem like no one trusts Davinci Resolve Color Managed.

Thanks for the help thus far!

I'll re-watch Darren's video. I was really hoping to get away with using a Color Managed workflow without CST's but it does seem like no one trusts Davinci Resolve Color Managed.

Thanks for the help thus far!

Many users trust the colour managed workflow. It's only the people who don't trust it that post about it so it looks like it's a bigger issue than it really is. Most users don't have enough technical knowledge to fully understand proper colour management. It's a very complex issue even for experienced users!