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Color for DCP 101?
I mainly do on set color, and post color all for broadcast. I just got a job offer on the table to do the color on a feature that is destined for a DCP. Can anybody help me out and give a quick 101 on what I have to do differently to make sure that the film looks right projected?
I will be working with sony s log footage off an F3. and I’m justing a HP Dreamcolor for grading. So from from the bits I’ve gathered in my research, I should be grading it in full range, and would probably have to set my monitor to p3 mode. What should my final export be? and will the film look fine even though I graded full range when it goes to dvd or blu ray? I’ve been reading various things about needing a display or an output LUT. Really hope somebody can explain to me in a simple fashion what I need to do. Special thanks to anybody willing to share.
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6 Replies
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I would recommend profiling the Dream-Color with a probe and a color management package and then building a P3 display LUT for it.
How are you feeding the HP? 10-Bit SDI to a converter then to the display port? The HD-Link-Pro and Davio boxes can accept 3D LUT’s or you can load the 3D LUT as a display LUT in Resolve.
I would output DPX frames which will then have to be put into a DCP package for compression to DCI compliant Jpeg-2000’s with encryption, etc.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma.
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I’m feeding with a aja hdsdi to dvi converter, and than i’m using a dvi to hdmi cable. it’s the most recommended unit for this set up. I do own a hdlink, but was wondering if the dreamcolor P3 (emulation) mode is accurate enough to just use that? It’s a intensely indie film, meaning hiring someone to do the probe, calibration, and the build of the LUT would probably eat the whole color budget up in itself.
Is there a simpler way to do this like an output LUT I can use?
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https://forums.creativecow.net/thread/277/4821
found some more info, I think i’ve got my brain 90% wrapped around this. just a few last questions if anybody has the answers
as far as I know now, I can color, and just do the output lut built into resolve for a DCP output, and it should look very close to what I see on my monitor.
1. do i leave my monitor set to 709, or switch it to p3?
2. do i graded in limited range, or unscaled?from what I get, the output LUT should take care of most of the work for DCP, and what I’ve created in resolve is ready for a HD finish without needing another pass at it once I take off the output LUT. If anybody could chime in on those last two things, I think I’ll be set.
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The Dreamcolor will not cover the full P3 color-space, but I would think that running it in P3 mode will be closer than in 709.
The DVI connection limits you to 8-bits I believe, whereas if you ran a HD-Link PRO Display Port you could get 10-bits. A friend had a DreamColor with a Gefen box which ran Display Port to the Dreamcolor and it was 10-bit and pretty calibrate-able.
You should grade in full range.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma.
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Thanks so much. And the converter box ensures 10 bit across the board. Did a lot if research for the DC before I got it. Its the most common device used for it.
Looks like Im ready to start this. Thanks again.
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I think it would be wise if you did test screenings on a 2K projector in a cinema as this is where it will end up.I use openDCP https://code.google.com/p/opendcp/.
It really is the only way to see what is going on in terms of your black levels.
Grade some of the darker or night scenes,export DPX files and get friendly with someone in a cinema with newish equipment.Not sure about P3 but I went rec 709 and had no issues
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