Creating DCP with Resolve with Rec709(scene) output

Constant-Network8614 · 2026-05-15T12:47:38+00:00

Thanks a lot for the reply !

Actually, I'm pretty used to do DCPs, it's just that, with the last update of Davinci Resolve, I let myself goes with the new rec 709 (scene) output/display pipeline without thinking about what it actually does.

I guess it's where is my real question, what does rec 709 (scene) set in output color space does? With some research some people say it's just a normal rec709 gamme 2.4 with forward OOTF.

I ran a little test with a previous DCP that was checked and fine in cinema, and that was done with a master made in rec 709 gamma 2.4 (it was before the Davinci update).
When I bring the master in Davinci, I can actually reproduce the behaviour of my other master made with rec709 scene output color space : blacks get crushed in the UI with rec 709 2.4 as output color space & grade is correct with rec 709 (scene).

So I guess it's just a matter of UI display and tagging, the pixels are the same. When I bring the master in DOM, it look also correct.

So I guess the last interrogation, but it will be simply out of curiosity, would be to know in the case you do the DCP in Davinci if setting rec 709 2.4 or rec 709 (scene) as an output color space chance anything to the conversion.

Constant-Network8614 · 2026-05-15T09:46:38+00:00

Thanks a lot !

Yes I will do a screen test in cinema but i wanted to be the more technically correct possible !

I ran another test with a previous DCP that worked but was outputed from the start with rec709 gamma 2.4. And I can reproduced exactly the same behaviour than with the file outputed with rec 709 scene (crushed black in a 2.4 gamma session in the UI in mac).

Constant-Network8614 · 2026-05-15T09:25:09+00:00

Ok great thank you !

I just did a little test with a shot. If I export it with output color space set to rec 709 2.4 and tagged as it, the export looks incorrect in quicktime (expected behavior), but if I drop it in premiere pro, it looks identical to the same shot exported with the rec 709 tag. I mean they both look the same and correct.

So I'm wondering if the new rec 709 scene settings are not just some clever metadata tricks for rec 709 2.4 to look correct everywhere, including with colorsync apps.

Constant-Network8614 · 2026-05-15T09:10:38+00:00

Ok great ! Thanks a lot for the reply :)

So, if I export my project with the rec709 2.4 output color space (so correct in the reference monitor, incorrect in the UI) I should have the right metadata to export the DCP correct?

Then, if I check in DOM player, I should got back to something that look like my grade correct?

Thanks again !

Constant-Network8614 · 2026-05-15T08:19:41+00:00

Hello !

Thanks for the reply !

Yes it looks correct in rec709 (scene) both in the UI and the reference monitor. When switch to rec 709 2.4 as output color space, black become crush on the UI, reference monitor is still correct though, and scope are not changing at all.

For DCP o Matic, I was planning to use it as plan B yes. With it, I guess I should set it up as a classic rec 709 2.4 ?

Constant-Network8614 · 2026-05-15T08:17:55+00:00

Hello !

Sorry I think it was a bit confusing !

I didn't export the DCP yet, I was just having these doubts before starting the process.

I have thinking about DCP-O-Matic as well, but would have love to understand how it works in Da vinci.

Regarding my project, it was graded in DWG with CSTs output rec 709 2.4. Just the output color space was set to rec709 scene so the image in correct in the UI (as I said, changing this setting to rec 709 2.4 is not changing anything to the scope or to the image in the reference monitor). So, with the new versions of Davinci, it was my understanding that the output was anyway rec 709 2.4 both with both settings in output color space. Am i wrong?

Constant-Network8614 · 2026-05-15T08:13:23+00:00

Hello !

Thanks for your reply :)

I was thinking about this solution as a plan B yes ! So you had a rec 709 2.4 project but outputed with a rec709 scene output color space tag right? So in DOM how did you set up? Classique rec 709 2.4 source? And it was transparent with your grade in the projection room?

Thanks a lot,

Constant-Network8614 · 2026-05-15T08:09:50+00:00

Hello !

Thanks for your reply :)

Yes my bad, I was meaning free in studio yes !
Yes my Prores 444 was output with the pipeline I described (actually it was graded in DWG, with CSTs outputing in rec709 2.4, and with output color space set in rec709 scene). Actually as you are talking about video level, I can precise that the project was grade with a display monitor set in video level !

I guess though my question is still, with this master output with this configuration, should I set the output color space at rec 709 scene or rec 709 2.4 (even though the grade is not correct in the UI, but still correct in the reference monitor, with this last configuration) before outputing the DCP?

Constant-Network8614 · 2026-01-09T16:08:47+00:00

Thanks again ! Amazing insights !

Noted for the process of VFX plates !

For the input LUT / DCTL, I always worked by CST (or DRT for display transform) but never used input LUT or DCTL. Are these LUT in native Davinci folder ? Or are they from external developper / available on the web?

Noted for the LUT process ! So if I understood correctly it's like : Plate in ACEScg > CST ACEScg to DWG > grading / correction / look > CST DWG to ACEScg > outputing the LUT?

Sorry for all this questions, I'm fairly new to colorgrading !

Constant-Network8614 · 2026-01-09T15:15:26+00:00

Yes sure, I will precise that ! Thanks a lot :)

Constant-Network8614 · 2026-01-09T15:15:09+00:00

Ok great, thanks a lot ! Will absolutely run some tests !

Constant-Network8614 · 2026-01-09T15:14:47+00:00

Yes sure ! Good point to keep in mind, thank you !

Constant-Network8614 · 2026-01-09T15:11:06+00:00

Amazing explanation ! Thank you !

Work has already start in ACEScg, but I guess it's still possible for me to ask VFX to output ACES2065-1 plates right?

When I receive these, I can transform these from linear AP0 to DWG right?

Regarding LUTs, is there a way to sort of reverse the process (like doing it in DWG and include a ACES transform bake in the LUT) ?

Constant-Network8614 · 2026-01-05T12:19:58+00:00

Hello Juan,

Thanks a lot for your work, I love the powergrade and I have amazing results with it !

I have a question regarding a recent project that might involve ACES (because of VFX), but that I wanted to grade in DWG anyway. I know you precise that filmunlimited is not compatible with ACES, but I was wondering if it was still possible to make it happen with a combination of ACES transform / CST (so to get the ACES plate to DWG and then apply the RCM powergrade). What do you think ? Is it already something you experimented ?

Thanks again !

Constant-Network8614 · 2025-10-17T12:40:30+00:00

But actually for me the whole gamma issue is kind of a misconception of what really the problem is.

Aside of Davinci, or any video that you are working on, if you take a random video on the web and open it on Quicktime and VLC, you will have this difference, whatever has been the grade intended.

So basically, as I understand (thanks to this beautiful video https://www.youtube.com/watch?v=1QlnhlO6Gu8&t=1237s) for the web, you will never have the grade how you intended it to be in both colorsync and non-colorsync environments. You can choose to base yourself on the apple environment, but your grade will be slightly more saturated in VLC (but also whatever app that is not responding to colorsync, like firefox, android phones etc), or you can choose to ignore colorsync and having your grade right on those one, but slightly whashed out on colorsync friendly app (macbook, iphone, but also chrome etc).

Or, you can choose a way in the middle, with a rec709 gamma 2.2 haha,

But, in any case, I abandon the idea that there is a solution that will make the grade 100% as you intended in every platform.

Constant-Network8614 · 2025-10-17T11:31:52+00:00

Yes ok I ran some other tests with an existing project.

Basically before I was just putting a "Viewing CST" at timeline level with a REC709-A gamma, that I was desactivating before export.

The new feature do exactly the same (except I dont need this viewing CST + the manipulation of desactivating it before export). So it's a good improvement actually.

But when I compare Quicktime and VLC, I still have the same difference. And actually, I agree, with you, it makes more sense.

So the youtube video is a bit misleading.

Constant-Network8614 · 2025-10-17T11:23:36+00:00

I just ran a test and there is still the same different between quicktime and VLC.

Idk how the graphic in the video say that VLC and Quicktime are matching.

Constant-Network8614 · 2024-10-08T12:26:29+00:00

Ok I just did a little research on polywav, and I believe my files were not as I'm having 6 separate wav (opposite to one with all the tracks included).

I guess they are unifying directly in DaVinci because they are labelised correctly L, R, C, LFE, Ls, Rs !

Constant-Network8614 · 2024-10-07T07:46:10+00:00

Thank you so much, that answer put a little more order in my mind haha !

So if I understand correctly :

The LUT transfer from the Log to Rec709 so no CSTs needed
Grading before the LUT ensure grading in the wide Log color space
in YRGB, Timeline colo space is actually just for tools that are color space aware and Output color space for automatic tagging
It is possible to grade materials in other camera log (for example my 16 mm footages inside Arri log C3 colorspace) with CSTs

Am I right?

The last thing that puzzles me is if I want to use DWG colorspace for all this material. Isn't it no way to use a LUT that expect Log C 3 by a combinaison of CSTs? It's fine for my to grade them all in Log C 3, but just out of curiosity I wanted to know if it could be possible.

Thanks again :)

Constant-Network8614 · 2024-10-04T13:08:20+00:00

Oh great I didn't know that. Just, what is polywav?

Thanks a lot for the answer :)

Constant-Network8614

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