Mark F (Bridge7 Pictures) asked a question.
DCI Cinema Trim Workflow
System Config: Mac M1 Studio Ultra, Sonoma 14.3, DaVinci Resolve 18.6 Asus PA32UCG
I have a project, graded in HDR, ST2084, P3, D65. I did my Dolby Vision trims for 100nit Rec 709 home delivery. Now I need to output a DCI P3 master for theatrical. What is the proper workflow? I can't seem to re-analyze from the 709 trim. How can I re-set the trim? I've tried several things including creating new timelines, trying to cheat Resolve into thinking it's a new color grade, but nothing seems to be the answer. Once the 709 trim is applied is it possible to generate 48 nit DCI trim? Thank you-
I have a project, graded in HDR, ST2084, P3, D65. I did my Dolby Vision trims for 100nit Rec 709 home delivery. Now I need to output a DCI P3 master for theatrical. What is the proper workflow? I can't seem to re-analyze from the 709 trim. How can I re-set the trim? I've tried several things including creating new timelines, trying to cheat Resolve into thinking it's a new color grade, but nothing seems to be the answer. Once the 709 trim is applied is it possible to generate 48 nit DCI trim? Thank you-
We have a project graded in HDR and trimmed for 709. Noe a DCP has also been requested. We work in Baselight and in the stack we can copy the 709 trim strip andnset the Target Display Colour Space to P3D60 instead of rec709. This then retains the trim values used for the 709 trim. Would it be advisable to use these trim values as a starting point for the P3 trim, or that make no sense and would you advise working from a trim strip with all values on default?
Thanks
Ivo
it really depends on your preferred workflow. If you find that you can reuse the 709 SDR trims for the 48nit DCI SDR version, you can continue to use them with the workflow described. If you feel that you would prefer to start without trims, you are also on the right track. Remember that if you have used the L3 mid-tone offset, this will affect all targets as it offsets the L1.