RCM issues;

eval'n v12 for a feature i have starting in a week or so... the project is commited to a Resolve facility, i'm familiar with Truelight color spaces, and am looking for similar functionality


i have three main sources for this show,
- r3d's,
- vfx in dpx form, exported as rfl/dragoncolor2, and perfect match on return
- sony pick-up's, prorez seem to be a semi-logish something., don't need to closely match the red tho

once i select RCM the red debayer is locked out, and the input is selectable, but the selections do nothing, so no mess'n with input's from red raw... this is expected and for the most part a good thing

But the vfx will not match the camera orignals anymore, there's no combination of input settings and / or input lut's that get the dragoncolor2/RFL sourced DPX to match once RCM is selected (they are absoultly perfect in Davinci YRGB color) - i can correct the DPX to match, but this is somewhat suboptimal...

the Sony comes good with a 709/2.4 input tho, many thanks

On output we hare confident that selecting an output to match the mon's setting is working as expected, and gradeing a show on a709 mon and a trim pass on a projector with minimal tweaks is a reality, so again many thanks.. all the good parts of ACES with out filling the array with 16bit caches...

i'm seeing a large varitions in the working color, in Baselight i have been using Arri Photometric, but can't find a similar option in Resolve, so a further question / thought for anyone.. is there any advantages or disadvantages to using 2020 -vs- DCI when my deliverables are DCI and 709?

or is there a favored choice?

so i think i'm going about it the right way... using DCI as my color space, and the output is display refered.

it's impressive how well and easly something graded in 709 can screen in P3 or XYZ with very few if any trims needed

i'm assumeing source cacheing with anything other that 16bit will significantly trash the image tho

i have a macbeth chart shot in prep, i've exported a RFL/dragoncolor2 of that, will be matching it to the linear of same shot and making an offset grade for the VFX... fingers crossed that it comes good... or i put in a call to Nick Shaw!