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Gamut Limiting, Restricting Values
Within a Larger Gamut ������������������������������������� 231 Input DRT Tone Mapping ��������������������������������� 231 Output DRT Tone Mapping������������������������������ 232
to HDR Conversion ��������������������������������������������� 234 Use White Point Adaptation���������������������������� 234 Color Space Aware Grading Tools����������������� 235 Apply Resize Transformations In ������������������ 235 Graphics White Level ����������������������������������������� 236 Display HDR On Viewers If Available ����������� 236
(Studio Version Only)������������������������������������������� 236
and the Fusion Page������������������������������������������� 236
Management Per Clip ���������������������������������������� 237
Information to QuickTime Files ��������������������� 237
Color Management Using ACES������������������� 238
Setting Up ACES in the Project
Settings Window ������������������������������������������������� 238
The Timeline Color Space in ACES
Workflows is Fixed ���������������������������������������������� 243
Tips for Rendering Out of an ACES Project 243
Data Levels Settings and Conversions
Different media formats use different ranges of values to represent image data. Since these data formats often correspond to different output workflows (cinema vs. broadcast), it helps to know where your project’s media files are coming from, and where they’re going, in order to define the various data range settings in DaVinci Resolve and preserve your program’s data integrity.
To generalize, with 10-bit image values (with a numeric range of 0–1023), there are two different data levels (or ranges) that can be used to store image data when writing to media file formats such as QuickTime, MXF, or DPX. These ranges are:
— Video: Typically used by Y’CBCR video data. All image data from 0 to 100 percent must fit into the numeric range of 64–940. Specifically, the Y’ component’s range is 64–940, while the
numeric range of the CB and CR components is 64–960. The lower range of 4–63 is reserved for “blacker-than-black,” and the higher ranges of 941/961–1019 are reserved for “super-white.” These “out of bounds” ranges are recorded in source media as undershoots and overshoots, but they’re not acceptable for broadcast output.
— Full: Typical for RGB 444 data acquired from digital cinema cameras, or film scanned to DPX image sequences. All image data from 0 to 100 percent is simply fit into the full numeric range of 4 to 1023.
Keep in mind that every digital image, no matter what its format, has absolute minimum and maximum levels, referred to in this section as 0–100 percent. Whenever media using one data range is converted into another data range, each color component’s minimum and maximum data levels are remapped so that the old minimum value is scaled to the new data level minimum, and the old maximum value is scaled to the new data level maximum:
— (minimum Video Level) 64 = 4 (Data Level minimum)
— (maximum Video Level) 940 or 960 = 1023 (Data Level maximum)