Topics covered in this article:
- Importing source material
- Conforming the edit timeline
- Color management
In this module, Blackmagic Resolve is used to demonstrate the workflow and steps involved in creating a Dolby Vision Master and deliverables. It is important to bear in mind that other systems like FilmLight Baselight, Digital Vision Nucoda, Autodesk Flame, Colorfront Transkoder, MTI Cortex, etc. can also be used to create, review, and modify Dolby Vision Masters and deliverables.
The first step in the Dolby Vision content creation process is to grade the HDR Master. Although this step is very similar to grading any other material, it is important to pay attention to a few very important steps.
Import Source Material
Color correction systems usually have their own proprietary color management workflows and techniques where a combination of look-up tables (LUTs) and/or transforms are used to first import the material into the system and then ensure that they are manipulated/modified efficiently and without degradation.
Different types of material may be used as sources for a project. These can include:
- Live images acquired using different types of cameras (film or digital cinema cameras, DSLRs, action cameras like GoPro, etc.)
- (Content shot on film will have to be scanned into appropriate digital image/video files)
- CGI material that is generated digitally on a computer
From a color correction perspective, the above sources can be received at bit depths ranging from 8 to 16 bits per pixel in various formats like:
- Camera RAW (.ari, .r3d, .arw, .srf, .crw, etc.)
- Images (TIFF, DPX, OpenEXR, etc.)
- Video files (Apple ProRes, etc.)
Although different color correction systems may work differently, the source material must be imported correctly into the color correction system without losing any valuable image data during the image import/conversion process.
There are many ways to import content into a color correction system like Resolve. Refer to the system user guide for more information on different ways to do this.
The imported media must be conformed into a cut timeline according to the creative editorial recommendation. This is usually performed using an edl, xml, aaf, etc. from the offline editing system. Alternatively, the incoming material can be cut into shots manually or using the scene detection capabilities of the color correction system. We don’t recommend working with a single long-play clip as the resulting metadata will be static.
[Refer to the Product User Guide for additional information on conform and editorial features on your color correction system]
Color correction systems from different manufacturers incorporate various technologies, color science, hardware configurations, etc. to produce the highest-quality results, provide maximum control and flexibility to the user, while delivering speed and performance. Each one will have its own ways of reading image data, adapting them into the working color space for image processing and manipulation, and then finally converting them to the required output formats for final delivery.
Blackmagic Resolve (version 16.2.7 used here) offers many ways in which a project can be set up for color correction. The Color Space & Transforms section within the Color Management module in Project Settings has four ways to set up your color pipeline for the entire project:
1. DaVinci YRGB
DaVinci Resolve’s original color science, in which you manage all and any color transforms from one color space to another manually, using either LUTs or manual adjustments.
2. DaVinci YRGB Color Managed
Enables the Resolve color-managed workflow (RCM) for grading. This can be customized for specific color workflows and pipelines that use different sources as a starting point and deliver a final result according to the studio or client’s specifications.
3. ACEScc and ACEScct
Both of these are standardized color management schemes that are available for facilities using ACES workflows. Of the available settings, ACEScct is the most intuitive way of working for most colorists, as it handles the lifting of shadows in a creatively useful way.
For the purposes of this training, we will use the DaVinci YRGB Color Managed workflow, which provides a considerable amount of control and flexibility.
When using the DaVinci YRGB Color Managed workflow, three principal import parameters have to be set which will subsequently manage the color pipeline for the project:
Input Color Space and EOTF
Timeline (working) Color Space and EOTF
Output Color Space and EOTF
Options for color space include P3, Rec2020, sRGB, etc. or those recommended by camera manufacturers like: ARRI Alexa V3, REDcolor4, Sony S-Gamut3, etc.
EOTF options include Linear, Gamma2.4/2.2, PQ/ST2084, etc. or camera manufacturer recommended options like: ARRI LogC, REDlogFilm, S-Log3, etc.
- The Input identifies the incoming source material to the color correction system and sets up the required transforms for all the color correction and image manipulation that will occur after import.
- The Timeline/working Color Space and EOTF sets up the working environment inside the color corrector and affects how effects and grading controls work. All clips in the Media Pool are transformed from the Input Color Space that’s either manually or automatically assigned to them, to the Timeline Color Space setting.
- The Output defines the final output for monitoring and how the finished product will be rendered out from the project.
For the output, Dolby recommends a combination of P3 (colorspace), D65 (whitepoint), and PQ/ST2084 (EOTF) for Dolby Vision content creation and delivery. Some studios may request Rec2020 deliverables in which case a combination of Rec2020 (colorspace), D65 (whitepoint), and PQ/ST2084 (EOTF) may be used. When using Rec2020, it is recommended to limit the output colorspace to P3 within the Rec2020 container since reference displays today are not capable of displaying the entire Rec2020 gamut. The P3 limiter can set up within the color management settings on most color correction systems today.
[Refer to the Product User Guide for additional information on how to setup the color management for different workflows on your color correction system]
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