Thread: How to set up project and external monitor for P3-DCI export and export Rec709?

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  1. #1 How to set up project and external monitor for P3-DCI export and export Rec709? 
    Junior Member
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    Apr 2013
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    Hello Everyone,

    I am going to be working on a project where for the first time I will be exporting a DCP for theatrical projection and have been told that the projector supports P3-DCI color space. There are two things I would like to achieve but am unsure exactly how?

    1. I would like to know what settings I should use in Resolve to properly work in P3-DCI color space and also what are the settings I should use to monitor the project? I have a BenQ sw2700 monitor that supports 95% of P3-DCI connected via an Untra Studio Monitor over HDMI (no budget for FS or EIZO). I have used a colorimiter to create a P3-DCI color space LUT that is saved in the monitor.

    2. I would like to know if and how it is possible to also export a Rec709 version of the project for most other screens?

    I really appreciate any advice or help I can get in this matter.

    All the best,

    GSK
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  2. #2  
    Senior Member
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    Apr 2016
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    don't is the fast answer....

    grade in ACEScct, set ODT to match your mon, 709 in your case
    grade untill happy
    be VERY VERY carefull with noise reduction and sharpening, if working on a25" screen for delivery on a 40' screen i'd go untill i could JUST see the effect, then cut the values in half
    take project to a callibrated DI theatre, and there set ODT to P3, spend a day doing a trim pass
    if no budget or access to a gradeing theatre, i'd work in 709, and export a DCP from that timeline
    P3 is a bag of trouble if you can't see 100%
    rarely -to- never will you excede the gammut of 709 anyway, so nothing to be gained by working in P3
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  3. #3  
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    Apr 2013
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    Hey Dermot Shane,

    Thanks for your reply. I really appreciate it because this will be the first time I work in this way. I will try to spend a day in a grading theater and it is good advice regarding the noise reduction and sharpening. I was hesitant to grade it in P3 because of the missing 5% on my monitor but it seems that this will be really difficult so I will just stick with 709. I have never worked in ACES but have been interested in it for a while so maybe I will do some more digging to see if it would be good to work in for this project. Again, thanks for your input.

    Best,

    GSK
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  4. #4  
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    With the transition to digital projection you'll find that most independent cinemas are dcp capable, an affordable option would be approaching a manager about test screening in an off hour. Make notes of any issues that really stand out, but if you're happy with the rec709 grade, the p3 should only look better.
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  5. #5  
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    Apr 2016
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    if the DCP is made correctly from a 709 master it will be an accurate representation of the 709 master...

    last thing you would want is a blind gammut scaling to P3.. think of a night time scene with an actor jumping out of a car door.. looks good in 709, in P3 the red tailights of the car light up the red stop sign and it becomes the brightest thing on screen, what isa complete non-issue in 709 becomes a major issue in P3, needing roto / masks / keys just to save the scene.. time wasteing and zero gain for the time as there was nothing in teh scene that P3 would help make better

    although a blind 709->P3 gammut scaleing is not a great idea, it's an established workflow to keep 709's gamut inside a P3 container

    screening and making notes is a great idea.. i do that on low budget indie features, and almost always the notes are about sharpening and noise reduction artifacts that could not be seen on my 55" screen
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