Monitoring P3 color space in viewer.

Since many MacBook Pros support P3 color space natively, is there a way to monitor a timeline with this color space inside the Davinci Viewer? It would be useful as a true HDR monitor (1000nits capable) in notebooks like that is very likely to be released in the near future (probably with other color space).
Many people here deliver P3 Masters, even if you have a HDR monitor it would be nice to match the viewer color space.

Resolve GUI preview is always in P3 ( or more precisely particular screen profile which is close to P3).
Depending if you have color managed preview on or off you either have Resolve project color space converted to screen profile or simply pushed as is.
Let’s say you have color managed off and import P3 master into Resolve. This will look about correct as screen is close to P3. If you import Rec.709 master it will look oversaturated as you pushing Rec.709 data into P3 screen without any adjustments.
In case of color managed preview set to on both cases will display about correct preview as in 2nd case Rec.709 data will be converted to preserve look on P3 screen.

If you want to use unmanaged preview for Rec.709 projects you need to add Resolve preview LUT which converts Rec.709 to P3.
If you create Rec.709 project with unmanaged preview and grade to GUI then such a Rec.709 master will be desaturated when watch on real Rec.709 screens ( as you lied to Resolve that screen is Rec.709).

Thank you. I think I understood it better. I will experiment some media to understand it better.

I think it's a bad idea to try to monitor in P3 on a flat screen display, and I think it's a bad idea to do it on the Mac. Read page 2582 of the Resolve 16.2.6 manual, "Limitations When Grading With the Viewer on a Computer Display." This explains why it's unwise to try to use a computer display for final color correction.The same problem exists with the "Clean Feed" output, since it's not color managed.

Funny comment on Adobe forum:

Premiere Pro does apply the full Rec.709 standards, the Apple color management utility ColorSync does not. And yes, that utility affects every application, browser, and player on a Mac.

Easily demonstrated on those with Macs and Retinas and an i/o device from BlackMagic or AJA, while also sending a signal to a proper reference monitor. As many of the colorists I know have.

Two different images of the same image in the same app. The one viewed via the i/o breakout box is as would be seen in PrPro, the one on the Retina monitor as you describe the exports from PrPro on your machine.

The image within PrPro with 'display color management' on displayed on the Retina screen, is the same image as the one on the reference monitor via the i/o box.

Which is the correct view of a Rec.709 media.

And that same image, a totally correctly created Rec.709 file, will show exactly the problems you are having on their Mac machine outside PrPro through any browser, player, or app.

It is the OS here that is the issue, sadly. The ColorSync color management utility that runs all image display on the Macs.

And I've spent hours with the top Adobe color people on this, hours with some major colorists. The guys I get paid to teach PrPro coloring for are the colorists that Dolby Labs hired to produce their entire video series on using DolbyVision for grading and deliverables to Netflix, Disney, the broadcast networks, everything.

They paid me to teach this at NAB2019, in the Flanders/MixingLight booth. Flanders makes the grade-1 reference monintors used by so many colorists. That presentation came after hours spent with Francis Crossman of the Adobe color team both via phone/zoom and in person at NAB, plus questions to Lars Borg, their top color scientist.

Everything then run through Patrick Inhofer and Robbie Carman of MixingLight, two highly respected colorists/teachers of pro colorists for years. Both Mac people. And part of the group of 3-4 people that made the DolbyVision video series for Dolby.

I taught between Alexis Van Hurkman (he didn't "write the book", he's written most of the major books on color grading) and the guy from Dolbyvision, the latter explaining how a colorist gets started certifying for DolbyVision deliverables. Both watched my half-hour program, and said it both answered a lot a questions and confirmed their own thoughts on the problem.

If Alexis Van Hurkman and that guy from Dolby can't 'solve' the Mac CM issue, it's really an issue.

Well ... they solve it the way colorists always deal with badly mis-managed color on most screens, actually. You evaluate color on a screen that you know is absolutely tight to CM standards because you've tested it with calibration and profiling software. And that's all you can do.

You cannot fix mis-applied CM. Ever. No one can, not Adobe, not BlackMagic, not no one not no how.

And again ... Resolve has the same issue. Which is NOT Adobe. Because the issue is within the Mac. Sorry to be so repetitive, but that is where the issue comes.

Period.

Neil

quite amazing that all of those experts can't see very plain and simply reason why "Apple" preview is brighter, while Resolve and Premiere GUI preview is actually correct for given project gamma.

It's all about Apple using 1.96 gamma based math (based on original Rec.709 spec for cameras) for their Rec.709 tag when playing video in any color managed app on OSX. Plain simple. I thought all experts know this by now.

At least with XDR display when you put it into Rec.709 mode (which for many should be accurate enough just based on factory calibration) Resolve (and Premiere) GUI should be the same as through SDI card monitoring. Just not that Premiere is hard coded to 2.4 gamma, where in Resolve you can set 2.2 or sRGB when needed.
XDR Rec.709 preset is based on 2.4 gamma, but Apple color engine will convert Resolve setting accordingly. Not 100% ideal way, but for many good enough.