ACES renders

[kam1965]

i have a very odd issue...
i finished my animation (maya / Nuke / ACES) and exported proress 444xQ 12 bit for adobePr editing... so far so good...
btw, i should used DCP-p3 pipeline in nuke at the first place, but i didnt know anything about cinema projection requirements... oh well, too late for that .

(a little back story: I had to switch to RedShift for renders after 1/3 already rendered in Arnold.. Arnold had a bug, that i had no time to wait for the fix.)

anyway, i was checking the DCP file from DCP player and i have noticed renders with RedShift have a slight color shift in DCP-o-matic player vs the rec709 output from adobe Pr...
interestingly shots rendered with Arnold are identical... no color shift...
redshift renders were not as good as arnold renders, but i can't wrap my head around with this color shift only on redshift renders - (slight pink_ish)

i have EZIO hardware calibration motor. and regular monitors, they all show the difference... odd isnt it !!!


two general questions : when i use DCP-o-matic player to check my file for errors, should i be watching with rec709 monitor ? sRGB or ???

also, when i use my monitor with DCP_p3 calibrated preset (my ezio brightness only goes down to 50, not to 48 - but that wont make any difference i believe) : to watch the DCP-p3 exported file, what color space i should be using in Pr, or Davinci or in nuke ?

thank you
kam

edit :
ezio brightness only goes down to 50, not to 48
edit : ohh thats the older ezio i have.. newer one does 48

[Carsten]

DCP-o-matic player is not able to use any color calibration currently. It's abilities to mimik P3 playback from X'Y'Z' on an sRGB display are limited.

One possible solution is to use a playback software like DaVinci Resolve, which is able to play back both rec.709/Prores source and DCPs within the same monitoring/color correction configuration.

[kam1965]

ok, thank you..
i know this is not resolve forum,
but any idea for davinci Timeline color space and Output color space should be with P3 calibrated monitor...

if i use P3_D65 for time line, and Rec709(scene) for output color spaces,
its looking correct in P3 calibrated monitor, but that might be totally wrong setup to test it, and
i might end up watching a totally green shifted movie in real cinema screen ))

[Carsten]

While DaVinci is certainly able to play back correct colors through a calibrated EIZO, my idea was not to aim for a perfectly calibrated playback, but for a visual comparison between your rec709 master and the DCP, if you assume your rec709 master is correct, playing back a DCP within the same environment allows you to compare DCP colors.

[kam1965]

yeah, that makes sense.. thank you.