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3 Next, choose a setting in the Timeline Color Space that corresponds to the gamut you want to use for grading, and that will be output. For example, if you want to grade the Timeline as a log- encoded signal and “normalize” it yourself, you can choose ARRI Log C or Cineon Film Log (this workflow is highly recommended for the best results). If you would rather save time by having
DaVinci Resolve normalize the Timeline to P3-D65 and grade that way, you can choose that setting as well. In terms of defining the output gamut, the rule is that if “Use Separate Color Space and Gamma” is turned off, the Timeline Color Space setting will define your output gamut. If “Use Separate Color Space and Gamma” is turned on, then you can specify whatever gamut you want
in the left Output Color Space drop-down menu, and choose the EOTF from the right drop-down menu (as described in step 2).
4 Be aware that, when it’s being properly output, HDR ST.2084 signals appear very “log-like,” in order to pack a wide dynamic range into the bandwidth of a standard video signal. It’s the HDR display itself that “normalizes” this log-encoded image to look as it should. For this reason, the image you see in your Color page Viewer is going to appear flat and log-like, even though the image being displayed on your HDR reference display looks vivid and correct. If you’re using a typical SDR computer display, and you want to make the image in the Color Page Viewer look “normalized” at the expense of clipping the HDR highlights (in the Viewer, not in the grade), you can use the 3D Color Viewer Lookup Table setting in the Color Management panel of the Project Settings to assign the appropriate ST.2084 setting with a peak nit level that corresponds to the HDR broadcast display you’re outputting to.
5 Additionally, the “Timeline resolution” and “Pixel aspect ratio” (in the project settings) that your project is set to use is saved to the Dolby Vision metadata, so make sure your project is set to the final Timeline resolution and PAR before you begin grading.
DaVinci Resolve Grading Workflow For Dolby Vision
Once the hardware and software is all set up, you’re ready to begin grading HDR. The workflow is fairly straightforward.
1 First, grade the HDR image on your HDR Monitor to look as you want it to. Dolby recommends starting by setting the look of the HDR image, to set the overall intention for the grade.
2 When using various grading controls in the Color page to grade HDR images, you may find it useful to enable the HDR Mode of the node you’re working on by right-clicking that node in the Node Editor and choosing HDR Mode from the contextual menu. This setting adapts that
node’s controls to work within an expanded HDR range. Practically speaking, this makes controls that operate by letting you make adjustments at different tonal ranges, such as Custom Curves, Soft Clip, and so on, work more easily with wide-latitude signals.
3 When you’re happy with the HDR grade, click the Analysis button in the Dolby Vision palette.
This analyzes every pixel of every frame of the current shot, and performs and stores a statistical analysis that is sent to the iCMU or eCMU to guide its automatic conversion of the HDR signal to an SDR signal.
4 Choose “Target Display Output” and “Trim Controls For” settings that you want to trim to. By default, these are set to “100-nit, BT.709, BT.1886, Full,” which is a typical SDR deliverable.
However, other options are available if you want to do multiple trim passes to obtain a more accurate result. Whichever setting you choose from, “Trim Controls For” dictates which trim pass you’re doing. You can do multiple trim passes by choosing another option from this menu.