case for controlling color transformation in export

lets give few cases of workflow that happen normally:

feature without RCM/Aces.
material came in, either raw, exr, dpx, and they are uniformed in the machine with input transformations/DCTL/VFXIO or whatever the client require.
there is a hero camera, let's say Alexa.
the timeline color space is setup for alexa so all the OFX transforms can be implicit
in 15 I can change the color space of a single node (let's say to Lab) coherently with the timeline color space and all is good.
client has it's own transformation at the end, it could be a LUT, curves, OFX color transform, and is targeting a P3D65 rpojection with a gamma of 2.6.

now, i have to do a DCP out of resolve and resolve WILL use the timeline information to automagically transform the [alexa color space setup in the timeline] to XYZ, creating a wrong output.

Universal want J2K as master archival deliverable and they have to be the the color space of the final product: again Resolve will try to convert from timeline color space to XYZ

usually, I have to do three exports form the finishing timeline: the color space of the projector (like P3DCI), a bt1886 Quicktime and a XYZ for DCP creation. at the moment I have to create three different timelines with three different OFX at the end to transform the varuois exports.


so.

I would like to gave the color space transform node in [delivery] page, with the understanding that if it is not active, simply it works as now (auto).
When Active, it does get the final output of the timeline and do whatever we need.
in the OFX color transform tool, add a [RAW] mode that simply get the value untouched (that is, no transformation need to be apply, like a bypass).

- thanks

Would it work to just use the “Color Space Transform” OFX on the Timeline level? You could duplicate the timeline three times?

If I recall correctly, “Timeline” comes after “Pre-group,” “clip,” and “post-group.”


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And as i mentioned in the actual post, i don't want to keep duplicating the timelines with possibility of bad branching.

I'd duplicate the project and have different output transforms for each one. But I get that's a pain in the ass.

Is this a feature available in Baselight? (Not sure, because it's been a few years since I checked.)

I'd duplicate the project and have different output transforms for each one. But I get that's a pain in the ass.

Is this a feature available in Baselight? (Not sure, because it's been a few years since I checked.)

Thee problems are: efficiency (or lack of thereof) and branching (multiple export have to happen while we are still in the middle of the project and you don't want really to duplicate the timeline)

One solution that I know to activate the Tone Mapping in the Delivery page is to activate Dolby Vision in the Project Setting Color Management.

Can it be used with JPEG 2000 or DCP Kakadu 2K DCI for your needs?

(I tested: a DCP Kakadu 2K DCI + Tone Mapping 100-nits, BT.709, BT.1886, FULL: MediaInfo say BT.709. with MXF delivery in dcp directory. BUT ? Workaround? )

I don't want a workaround, we have one, just duplicate the timeline.

I want proper tools

Resolve color management options on export would be neat.