Douglas Dutton

Davinci Wide Gamut Non Color Managed

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Hi everyone!

I'm wondering if when working in a Non Color Managed Workflow, Davinci Wide Gamut could work as a good substitute for Aces.

Let's say I'm working with different cameras like Red, Alexa, Sony, Panasonic, and I apply a CST as an IDT towards Davinci Wide Gamut / Davinci Intermediate. Will the cameras match like they would working in Aces?

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Supposedly grading within a unified Davinci Wide Gamut could work better for regular grading response for the tools and also as a Gamut compressor.

 

Many thanks

Douglas

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My suggestion is to try to keep things simple. I don't necessarily think working in a wide-gamut world will help you unless you plan some serious HDR deliveries. Having said that, Alexis Van Hurkman has an excellent 3-hour tutorial on Resolve Color Management, and it specifically covers wide gamut as well as the advantages and disadvantages of ACES vs. RCM:

https://www.rippletraining.com/products/davinci-resolve/color-management-in-davinci-resolve-17/

One thing I think is helpful is that he shows how to take a project completely corrected in SDR and then do a trim pass for HDR. I think this will be useful for certain situations where, long after the fact, the client decides to spend the extra money to have the colorist provide an additional HDR version. 

As far as matching different cameras goes, I think that's something you can already get with Color Space Transform nodes and actually work independently of color management or even LUTs, for that matter. As long as you have a calibrated display and a color-managed output, you can work just fine in a display-managed environment and get the whole project done. Knowing scopes and the peculiarities of specific cameras will help a lot.

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