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Found 3 results

  1. Hi Im working on a facility with a Christhie DCI Projector, well calibrated, and I need to "manage" often two masters (either for streaming, TV, rec709 to be short) and DCI-P3 color space for DIgital cinema projection, My project consists of one camera only (Alexa) so I choose the right IDT for that and the ODT for the P3-DCI for the project on the right "channel" at the Chrisite. But when I output to the rec 709 ( projector set to deliver rec709 at gamma 2.2 ) the colors look much different (yes, I do change my ODT for rec709 at this time). The difference im seeing is the lack of gammut between the DCI and the rec? it seems to drastic to me. Any advie or thoughts? p.s.: dont like ACEScc... still I can bring much mor infromation on blacks if manually wornking on th elog file... but this is another topic) p,s,2: The difference is the same if I choose the RCM on Resolve, when I use the input to camera, time line to camera color workspace and output to the right color space. The differece doesn't exist if I bypass the input camera, put the timeline to P3 (the biggest gammut) and change the output to desired color space. Then I see no diference.
  2. Hi everyone, Does anyone know if there is a tool to manage bright saturated color clipping (out of gamut colors) in Resolve ? Something similar to the Baselight compress gamut? Thank you,
  3. I often hear and read here that nobody transforms LogC (or Red, or whatever) colorspace gamut to destination gamut. For example from AlexaWideGamut to Rec709 gamut. Everybody just makes a contrast curve, then some LGG, and that's all. Even If I go this way, I still use a gamut conversion LUT after normalization curves. Or I use gamut (colorspace) conversion plugin after the curves if I'm on Resolve. Why do many colorists skip this step?