Davinci YRGB Color Managed workflow

So if I'm working in Davinci and have Color Science: Davinci YRGB Color Managed and Davinci Wide Gamut as color management preset and output color space as Rec. 709 Gamma 2.4 selected it ends up quite a contrasty "straight: kind of look on the timeline. I shot BMPCC 6K Pro Gen 5 film. How should I be dialing this back? Do I just reduce contrast in color wheels and start from there or should I use the bypass color management on the clip which seems to negate the whole point in using color managed workflow.

Is Rec. 709 the largest color space you'll be delivering to?

Did you shoot BRAW or ProRes?

Is Rec. 709 the largest color space you'll be delivering to?

Did you shoot BRAW or ProRes?

Sorry, essential info, yes I shot BRAW (first time shooting BRAW, love it). It's for a film festival that's online so I figure Rec709 is the way to go right?

You'd have to find that out from the festival folks. If they're able to show DCI P3, or Rec.2100, that's worth knowing before you do the color work.

In any case, set the Output to the largest space you will need and you're golden. BRAW media will read the proper Input automatically.

You'd have to find that out from the festival folks. If they're able to show DCI P3, or Rec.2100, that's worth knowing before you do the color work.

In any case, set the Output to the largest space you will need and you're golden. BRAW media will read the proper Input automatically.

How does festivals ability to show P3 influence your decisions in color if you can only monitor rec709 for example?

Second advice is just wrong, output should be set to what you can monitor, setting it to something else unless when doing specific delivery render will guarantee your colors are total whack after ”grading”.

How does festivals ability to show P3 influence your decisions in color if you can only monitor rec709 for example?

Sorry. The recommendation did include the assumption that one could monitor the color space used. I consider that kind of a "given".

How can that be if the festival is online?

How does festivals ability to show P3 influence your decisions in color if you can only monitor rec709 for example?

Sorry. The recommendation did include the assumption that one could monitor the color space used. I consider that kind of a "given".

Thanks, my issue is that when I'm working in any of these color spaces is that the automatic way that DaVinci does the colorspace transform from Log to Rec 709 is too contrasty I'd like more control over that. Is there a way of doing this or do I just reduce contrast with color wheels after DaVinci has done this automatic conversion? (btw I'm grading on an Eizo CG318)

How can that be if the festival is online?

I did miss that. My error.

I just reduce contrast with color wheels

There are a myriad of ways to adjust contrast to taste. Wheels, Bars, HDR Pallete, Contrast control, Curves... They can all be applied to the clip, groups of clips, an entire timeline, Adjustment Clips, Shared Nodes...

Normalization of BMD footage with both LUTs and RCM typically yields high contrast/high saturation images. Dial it down to suit your needs. That you have to do so doesn't mean you shouldn't use color management. RCM isn't meant to generate instant color correction (there's another button for that, if you're taking that road).

You could also try ACEs, which does more image processing from the outset to make pleasing pictures.

Normalization of BMD footage with both LUTs and RCM typically yields high contrast/high saturation images. Dial it down to suit your needs. That you have to do so doesn't mean you shouldn't use color management. RCM isn't meant to generate instant color correction (there's another button for that, if you're taking that road).

You could also try ACEs, which does more image processing from the outset to make pleasing pictures.

Before using BRAW I used to do a colorspace transform on the Log footage to bring it to Rec. 709 and then sometimes reduce the opacity of that node if it was a bit much. With the Davinci Color managed workflow yes the image is toto saturated and contrasty with no way of fading it other than reducing it again via wheels, curves etc. It seems an odd way of doing it though, pushing contrast one way only to bring it back down again. It has to negatively affect image quality doesn't it?

No, it doesn't affect imaging processing adversely, the initial appearance isn't baked-in.