P3 DCI, HDR10, 10+, and Dolby Vision Grades

I finished my REC709 grade recently for my own short film. I sent out the sound for the Atmos mix and I have it back from Ott House here in DC. I am attempting the P3 and HDR versions now, and all of these are a first.
I have reviewed the other 'P3' related posts. Hopefully I am going in the right direction:
I will attempt the P3 grade today. The purpose of the DCI P3 is to present in a theater. My grading tool can see all of P3 color.[u][u] So here is my question for P3... P3 is app. 35% larger than 709... so I could push the saturation out further into P3 space? Not sure I want to, and if I don't, then do I simply render out w/ P3 instead of REC709?[/u][/u]
I would assume I move on to HDR from that point.
Thanks as always guys.

I would have gone the other way. Grade for the largest color space (Rec.2100) and change the ODT (in ACES) for the lesser spaces (P3, Rec.709).

chances are you will have little to gain, and some to lose in P3

i deliver for theatrical typicaly, and rare is the day where i want to push sat beyond 709 in any case

And one has to watch out for colataral damage, ie: stop signs lit by a red car tail ight becomeing super anoyingly visable for example

skintones are still skintones

i hope you are working in a callibrated gradeing theatre? without that i would stick with 709, and make a DCP from there, better a vewing chain that you can trust 200% than a mess, and useing a mon, any mon alone is not ideal for theatrical deliveries

at a minimum do a P3 pass with the best you have, make a DCP and screen in a local cinema, come back home and tweak, rinse-n-repeate as mach as you need to

good luck!

Jim, Dermot, thank you for your insights. I may well try high to low next time Jim. Dermot, I will hand carry a P3DCP to a local cinema.