User Manual

to work. In Simple mode, this setting is not used. In Luminance Mapping mode, you can
manually alter this setting to customize how the Timeline color space is remapped to
the Output color space.
 Timeline to Output Gamut Mapping: Accommodates workflows where you need to
transform one color space into another with a dramatically larger or smaller gamut
by helping to automate an expansion or contraction of image saturation in such a
way as to give a pleasing and naturalistic result with no clipping. Choosing Saturation
Mapping from this menu enables saturation mapping of the image during the Timeline
to Output Color Space transformation that RCM performs when rendering or outputting
a timelineto video.
–
Saturation Knee: Sets the image level at which saturation mapping begins.
Belowthis level, no remapping is applied. All saturation values from this level on
up are remapped according to the Saturation Max. slider. A value of 1.0 is maximum
saturation in the currently selected output color space.
–
Saturation Max: The new maximum level to which you want to either raise or lower
all saturation values that are above the Saturation Knee setting. A value of 1.0 is
maximum saturation in the currently selected output color space.
 ACES Input Device Transform: (aka IDT) When Color Science is set to ACES, this
drop-down menu lets you choose which IDT to use for the dominant media format in
DaVinci Resolve.
 ACES Output Device Transform: (aka ODT) When Color Science is set to ACES, this
drop-down menu lets you choose an ODT with which to transform the image data for
monitoring on your calibrated display, and when exporting a timeline in the Deliver
page. For more information on ACES workflows using these settings, see Chapter 7,
“Data Levels, Color Management, and ACES.”
 Process Node LUTs in: This drop-down menu lets you choose how you want to
process CLF LUTs that are added to nodes in your grades while working in ACES, such
as Look LUTs in on-set or VFX workflows. There are two choices: ACEScc AP1 Timeline
Space (the default), and ACES AP0 Linear.
–
ACEScc AP1: For LUTs that have been designed to take the specific range of
ACEScc data using the AP1 primary coordinates.
–
ACES AP0: For LUTs that have been designed for normal ACES data from 65504 to
-65504 floating point values.
NOTE: ACES grades require CLF LUTs that have been specifically created for
ACES workflows. If you want to apply a regular LUT within a grade, you must
do a color space transform to convert the image from ACES to whatever space
the LUT was designed to work within, and then another color space transform
to convert the image back to ACES; however, this workflow does not alway
provide ideal results.
 Display HDR on viewers if available: Turn this checkbox on if your computer monitors
and operating system are capable of accommodating HDR display.
 HDR Mastering is for: (Only available in Studio version) If you have a DeckLink 4K
Extreme 12G or an UltraStudio 4K Extreme video interface, then DaVinci Resolve 12.5
and above can output the metadata necessary to correctly display HDR video signals
to display devices using HDMI 2.0a when you turn on the “Enable HDR metadata over
HDMI” checkbox in the Master Project Settings.
Chapter – 4 Project Settings 156