v17 Color Management questions

Hi,

I've upgraded recently to v17 and been checking the different presents for color management.

1-I was wondering, on the SDR P3 Cinema, why was P3 60 choose instead of P3 DCI. I've never used D60 on a grading environment (either DCI or D65) and it's confussing seeing it as the standard preset.

2-Projects that had been color managed with v16, are imported as YRGB Color Managed (Legacy), and I've found no way of matching the color by using the current management on v17... Any extra information I could find on these changes?

I checked the release notes and didn't find any extra info on this. Downloading full manual now.

Cheers

Following up on this, I didn't find further description or explanation on the v17 manual.

Also, I've tested the previous transformation (the most common we'd use, from DCI P3 to Rec709) against the newer one, and found that now it is indeed slightly "more greenish".

I haven't get into dissecting the other aspects of the different possibilities when converting (either with Color Transform or through Color Management), but I'd appreciate more information.

It's a bit worrying the lack of description when the tool we are using for color management is modified. This kind of makes me want to go back to our LUTs in nodes for controlling all the color transforms...

[Peter Chamberlain]

I understand that DCI cinema spec is D60

see system colorimetry
https://en.wikipedia.org/wiki/DCI-P3

Hi Peter,

thanks for the reply. I believe D60 is a simulate white within DCI peak white (closer to D63, greenish), but the DCI white is still DCI white. I've graded on D65 sometimes, never on D60, but we mostly adhere to DCI white point as the risks of moving to a different white point down the mastering / distribution chain have to be considered. In any case, that part is more a matter of what would be the most standard practice among film colorists worldwide (maybe a poll would be good and informative) in order to create that "SDR P3 Cinema" preset.

My biggest concern is the change on the transformations from P3 DCI to Rec709, as I haven't found any documentation on what has changed and why (while there is plenty on the Davinci Wide Gamut).
Is it related to the timeline luminance? Was something off before?
Since we would use these transformations for our broadcast versions, and do a color trim pass based on these, it is important having as much info as possible.