DCDM on RESOLVE

colorcorrection
resolve
post-production
mastering
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(Alexis) #1

Is there anyone making DCDM from Reslove?
Should I render a P3 RGB first?
been having some issues rendering my project directly from ACES to DCDM.
Can’t reverse the transform accurately.
Any suggestions on how this should be done. You can download a few frames from here: https://we.tl/utLlTRcRhd
Thank you guys.


(Dermot Shane) #2

that is what i do, then make the DCDM from an RCM timeline, with the input/timeline/output set to P3

seems to work acceptably well, i only make festival screeners, making a DCDM means it’s fast and easy to insert new mix’s, VFX Credits and burn a DCP in a few min, wel as fast as your disks can move the files, and maybe 5 min to create the XML

I send the same P3 files to a facility when a bonded/encrypted DCP is a delierable


(Borislav Konstantinov) #3

Yes, my workflow is ACES and DCDM for ODT. I try DCI-P3 but I found a differences in final DCP and in waveform. I don`t have any problems.


(Jim Houston) #4

They are completely different outputs.

The DCDM is X’Y’Z’ with a Illuminant E white point for XYZ. (coming from D60 white)
DCI-P3 with a DCI white point (.314,.351) is an RGB color space for direct mastering of a device set to that color space.


(Antonios Arapostathis) #5

Sorry, there is something I don’t get: I do my grade normally, then select DCDM as ODT. But then how should I render my TIFFs? Should I select TIFF XYZ 16bit in the render tab (probably causing a double transformation?) or must I select TIFF RGB 16bit (risking that some of the XYZ colors become out of gamut?) Please help.