DCP Sony F3 Advice

[Jose Lomeña]

Thanks Fred!.

I think the problem come from EasyDcp Player. The inverse lut that this program has make a XYZDCIP3 to RGBRec709 and at least i need to change my monitor from DCI to Rec709 to see correct colors. But if you see your DCP in the cinema it has a DCIP3 colorimetry not Rec709.

Do you know if is possible to make scope 2.38:1 dcp with easydcp?, I can playback 2.38:1 dcp with easydcp player, but i didn’t find any form to create it with easydcp, i need to make the dcp with other program.

[Fred Fleureau]

José,
contact me pls on fred@untitled-studios.com, will be easier to exchange infos.

[Shane mario Ruggieri]

Guys,

it’d be great if you’d post your results….there are others out here who are interested… “)

thanks!!

Great topic BTW…

shane

—
Shane Mario Ruggieri
Editor • Colorist

Coloring your piece isn’t an “option”, it’s the mark of dedication to the message.

[Andrea Marini]

Yes, please share your results!

I am grading a 3d stereoscopic short for DCP output. I graded it with Apple Color on a JVC HD (REC709) monitor and let the DCP software do the REC709 -> XYZ conversion. I’m just going out to the theatre to check the results.

My problem is, stereoscopic DCP movies are screened at 1/4 luminosity than 2d movies (4.5 FL vs. 14 FL).

How do you take care during grading of this luminosity gap? Do you have some special settings for your grading monitor or do you use a projector? I am worried about pushing too much gain and gamma and mess up the picture. For now, the only way to me is to do some different grades and test them in a theater. Usually we screen our stuff on DCP at festivals and on normal projection at art exibitions, if I understand we need to do different color grading for each output, am I right?

[Fred Ricci]

My tests were not 3D, so I cant tell you much about that.
I’ve graded the footage(1920p ProresHQ) with normally scaled on, viewing on a Rec709 calibrated monitor. I rendered it to 16bit Tiffs, using the lut I found here and the DCP software did the Jpegs and Mxfs.
The results were great, the footage looked slightly desaturated, I would say 2 or 3 percent less saturated then in my monitor, but the colors and looks were perfect.
Unfortunately it was not shot in log, but the producers are going to make another tests in log as soon as the DOP returns from holidays.

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[Jay Moffat]

Hi Charlie, you may know this as you’re dealing with it…and I’m sure will illuminate this thread…

A Mixed timeline of Full Range and Legal footage for final versioning of Legal and Full Range output… Do you use a LUT on the Legal Video so it is sits as it should in a Full Range project, then render two versions, one Full Range and another with a scaling LUT for the Legal Video versions?

Resolve has no scaling LUT (‘Full Range to Video’ or ‘Video to Full Range’) which works that I can find…

J

[charlie edison] “I use unscaled and render xyz 16bit tiff for dcp encoding and the results are spot on!
I’m not sure why you’d want a rec709 lut on their unless the guys doing the dcp have asked for it.

Stick with unscaled xyz for dcp and render RGB10bit with the rec709 lut for tape deliverables..”

ega