Nimrod Erez wrote:In test after test in the studio on the Eizo monitor we have, the P3 image looks much much better than the 709 picture, for whatever reason. Not using any LUTs for normalizing, just contrast and pivot on a third node in the line, all other corrections happen on the LOG material on a serial node prior to normalizing node. P3 image much smoother with richer colors. And this is just on an interview shot.
However that doesn't mean I'll end up grading the project in P3. Past conversions from 709 to DCP were super smooth and looked good on the big screen and the film will eventually exist streaming on Netflix = 709.
To me it sounds like only 98% of P3 on my monitor is not much of an issue because the what's important is not color gamut but hue, and Y gamut (As many F stops as the format supports basically.) As long as the hue doesn't shift, losing 2% of color is not such a big loss, especially on a historical documentary.
Will probably stick to 709 just to be on the safe side, for now.
stick to 709 is a good idea.
i think you might be being fooled by what you are seeing. it's kind of like when I'm doing a grade and client says, "I like more how it looks there!" (the app gui instead of the broadcast monitor)
a dcp made from your computer monitor preset p3 setting is a dangerous route. you really have no idea what you are looking at (gamma? viewing environment? luminance?) without proper profiling and a test of that pipeline.
also
do you even know what the white point and gamut are? have you measured it?