Luca Leocádio Soares

After upgrading to Resolve 16, we haven't seen this issue anymore and you can download the LUT on the comment above.

Sure! See if it works for you. REC2020_p3_limiter.cube

No it's not. We've created it on lightspace.

Hi Oscar, To be honest I don't believe it''s related to data or video levels. At the time the solution was to apply a lut, which was limiting the gamut, inside Autodesk Flame.

Thanks for taking the time to answer Orash! I'm not sure what I'm asking either, but thing is, on Resolve, if the color science of the project is set to ACEScct, using a LUT on the node tree won't clip the highlights at 100 nits when you change the ODT for HDR, in my case, Rec.2020 ST2084(1000 nits, P3D65 Limited). I also agree it's not a good idea, but I've done 17 episodes that way and could't see any issue on the image, also all the HDR masters passed the QC of the TV channel without any problems. I'm trying to find any other issue that I'm no taking into consideration right now or if there is anyone doing the same thing out there.

Hi guys, I would really appreciate to know your thoughts on using a Rec709 print emulation LUT on an ACES project. I've been grading the HDR version of a TV show which was graded and delivered first in SDR. The colorist who did it used the Resolve's native Rec709 Kodak 2383 LUT on many clips, I imagine this it's not ideal for HDR or any future deliverable, since it's a 709 LUT, however I can't see any real issue during the HDR grade. Please let me know what you guys think. Thanks

Yeah, for highlights and midtones.

I had the same "problem", and the way I found was to work in YRGB and use the ACES Transform OFX to get the best of both worlds. However this might not be ideal if you have multiple deliveries, especially in HDR, in that case I also believe that log tools can give you the blacks you want. As for the workflow with the ACES Transform OFX, you could try this: Node 1 - IDT to ACEScct Node 2 - Primary balance Node 3 - ODT to Rec709 Node 4 - Adjust the blacks

Gamut mapping with qualifier seems to be a quick and good way to accommodate the bright highlights during HDR grading. Thank you for the tip Anton!

I've downloaded the demo version of Drastic 4K, however it was showing values outside the Rec.2020 range. Not sure if I can trust it for QC.

In Resolve you can try the OFX Gamut Mapping and Gamut Limiter.

Thanks Mazze, I will give it a try.

Hi everyone, I'm trying to find the best workflow to export a Rec.2020 ST2084 1000 nits master but limited to P3D65 color space. In Resolve I can even set this as an ODT, but when I watch the ProRes master, I can see its gamut is beyond the P3 triangle. Can anyone help with this?

Can any of you recommend a software based scope for HDR monitoring? I've been using scope box for the last 3 years, but now I need to deliver HDR content and it does't seem to work with and HDR signal. Although I believe the best option would be this Aja box below, for now I'm looking for cheaper solutions which could be used with a Blackmagic card or anything similar. https://www.aja.com/products/hdr-image-analyzer