So far I always worked and rendered with Rec709 ODT both for television and DCPs. As I can only see a calibrated Rec709-Image when grading, I think that’s the best way for my workflow. Even for cinema presentation via a P3 capable projector that then of course will only use 709 colorspace…
Now I wonder what will happen when I grade with ODT Rec709 and then output with the DCDM ODT.
As far as I understood that will produce a X’Y’Z’ result. XYZ colorspace with a certain transfer function (that I don’t know. Maybe 2.4?).
So I wonder: If there are colors in my camera RAW footage, that lie outside the 709 primaries and the Rec709-ODT was somehow mapping them into gamut when working on the grade - they will again be present in the X’Y’Z’ output.
Because when switching to DCDM, the ODT part will get the real ACES linear colorspace, go through the same RRT as before (I guess) but then doesn’t have to map or clip or limit certain colors. So I get more, but I cannot see and control it.
And further: What will happen when the DCP is created. It gets X’Y’Z’ with (in extreme cases) colors even outside P3 and does … what? Clipping or some kind of desaturation or other things?
Thanks for any tips and information.