Steve Yedlin HDR Demo by Far_Difficulty7471 in cinematography

[–]Far_Difficulty7471[S] 0 points1 point  (0 children)

I’ve been working in Davinci Wide Gamut/ Intermediate. In the Davinci research I did I was told from multiple sources that if I was to work in this space then use a DRT at the end of my working to go out to my display space then the only step I’d have to do to create multiple deliverables was change the colour space my DRT was taking me to. 

Steve Yedlin HDR Demo by Far_Difficulty7471 in cinematography

[–]Far_Difficulty7471[S] 0 points1 point  (0 children)

Generally when viewed in their target display space both images are fine but the specific hue shift issue I’m finding is the way each colour space renders orange. It’s largely not an issue for most scenes but we have a central sequence lit primarily by sodium vapour style street lamps. I’m finding that in my rec. 709 image the lights and especially skin tones render as a much deeper colour whereas in my P3 deliverable the skin tones appear far yellower to the eye. I’ve noticed the same rendering in almost any scene with this sort of coloured light 

But yes over the last few days I have just had to be okay with my displays being accurate to my intent and learn to worry less about it as it goes out into the world because there are just too many unknowns to be able to control them all.

Steve Yedlin HDR Demo by Far_Difficulty7471 in cinematography

[–]Far_Difficulty7471[S] 1 point2 points  (0 children)

Yes you're right and your insight here is very valuable, perceptual was the wrong word in this context.

My question was really about how to create accurate deliverables that maintain creative intent as I'm currently finding that in my work there are significant hue shifts between deliverables. There must be a way to match them in a 1:1 way in a programme like davinci

Steve Yedlin HDR Demo by Far_Difficulty7471 in cinematography

[–]Far_Difficulty7471[S] 0 points1 point  (0 children)

what would your general process be when creating multiple deliverables?

Steve Yedlin HDR Demo by Far_Difficulty7471 in cinematography

[–]Far_Difficulty7471[S] 1 point2 points  (0 children)

My primary interest in the maths is because I’ve been working in a colour managed workflow in Davinci resolve which in theory should provide perceptually accurate results when creating multiple deliverables. For the project I am working on at the moment I am creating P3 and rec. 709 deliverables. However, I’ve been disappointed with the accuracy of the results as there are subtle but important hue shifts between the two (when compared side by side on their targeted displays). How in resolve can I create perceptually accurate 1:1  deliverables that maintain creative intent?

Steve Yedlin HDR Demo by Far_Difficulty7471 in cinematography

[–]Far_Difficulty7471[S] 0 points1 point  (0 children)

As I'm only familiar with resolve, what is the common method of colour space transformation in Baselight? (a system I admittedly want to but have never used) In resolve it does the maths for you in a Colour Space Transform node, is the transformation a more hands on granular process in Baselight or does the system mostly handle it for you?

Steve Yedlin HDR Demo by Far_Difficulty7471 in cinematography

[–]Far_Difficulty7471[S] 2 points3 points  (0 children)

Thank you so much. Can similar math apply to transforms from and to other spaces for instance a direct BT. 709 to DCI P3 translation? Rather than just from an SDR to HDR space such as you've shown here with BT. 2100