User Manual

 ACES version: This drop-down only appears if you choose one of the DaVinci ACES
options from the Color science drop-down menu. Lets you switch between different
versions of the ACES specification. This lets you choose the appropriate older version
of ACES whenever you open an older project. As of DaVinci Resolve 14, ACES 1.0.3 is
the minimum supported version. In version 16, DaVinci Resolve also supports ACES 1.1.
 Use Separate Color Space and Gamma: If this checkbox is turned off (the default),
the Color Management panel of the Project Settings exposes one drop-down each for
the Input, Timeline, and Output color space settings, and each setting simultaneously
transforms the gamut and gamma, depending on which option you choose. If you
turn this checkbox on, then the Color Management panel changes so that the Input,
Timeline, and Output color space settings each display two pop-ups. The first drop-
down lets you explicitly set the gamut, while the second drop-down lets you explicitly
set the gamma.
The global controls available for Resolve Color Management (RCM) are:
 Input Color Space: The default color space that all clips in the Media Pool to which
you’ve not assigned an Input Color Space will default to.
 Timeline Color Space: The working color space that 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.
 Output Color Space: The color space that you’ll be monitoring and outputting as you
work. The Viewers in DaVinci Resolve show you each clip’s image as it’s transformed
from the Timeline Color Space into the Output Color Space.
 Use 203 nits reference for Rec.2100 HDR: Resolve Color Management has support
for remapping SDR content to HDR by mapping 100 nits to 203 nits (defined as the
diffuse white level) according to the BT.2100 recommendation. This enables the peak
highlights of SDR material to compete more favorably against the significantly brighter
highlights of HDR content in programs that combine both (such as documentaries), so
that SDR whites continue to appear white, rather than gray, when compared to diffuse
white in HDR. This checkbox is hidden by default. It appears whenever you set the
Output to an HDR standard while the Timeline is set to an SDR standard.
 Timeline to Output Tone Mapping: Accommodates workflows where you need to
transform one color space into another with a dramatically larger or smaller dynamic
range by automating an expansion or contraction of image contrast in such a way as
to give a pleasing result with no clipping. There are three options: None, Simple, and
Luminance Mapping.
–
Simple: Uses a simple curve to perform this transformation, compressing or
expanding the highlights and/or shadows of the timeline dynamic range to better
fit the output dynamic range. Note that this option maps between approximately
5500 nits and 100 nits, so if you’re mapping from an HDR source with more than
5500 nits to an SDR destination there may still be some clipping of the highlights
above 5500 nits.
–
Luminance Mapping: Actually uses a customized curve operation to precisely
map the timeline dynamic range to the output dynamic range, and automatically
populates the value of the Max. Timeline Luminance control that guides this
transform, but leaves it user-adjustable in case you want to customize the result.
 Max. Timeline Luminance: The maximum luminance level of the Timeline color space,
in nits. Changing the Timeline Color Space gamma setting automatically updates this
parameter to the appropriate value for mapping the Timeline Color Space to the Output
Color Space, but these two color spaces need to be different in order for tone mapping
Chapter – 4 Project Settings 155