User Manual

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P3-D65: Transforms RGB-encoded image data with a D65 white point; intended for
monitoring with a P3-compatible display using a D65 white point.
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P3-D65 (D60 sim.): Transforms RGB-encoded image data with a D65 white point;
intended to simulate monitoring with a P3-compatible display using a D60 white
point on a display with D65.
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P3-D65 ST2084 (108/1000/2000/4000 nits): Transforms an image that’s
compatible with the P3 color gamut, using the SMPTE standard PQ (ST.2084)
tone curve for High Dynamic Range (HDR) post-production. Three settings for
four different peak luminance ranges are provided; which one is appropriate to
use depends on the maximum white level of the display used to create the media.
Preliminary standards exist for HDR displays with peak luminance at 1000 nits, 2000
nits, and 4000 nits. A setting of 108 nits is provided for Kodak laser projection.
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P3-D65: Transforms RGB-encoded image data with a D65 white point, intended for
monitoring with a P3-compatible display using a D65 white point.
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P3-D65 ST2084 (1000/2000/4000 nits): Transforms an image that’s compatible
with the P3 color gamut, using the SMPTE standard PQ (ST.2084) tone curve for
High Dynamic Range (HDR) post-production. Three settings for three different peak
luminance ranges are provided; which one is appropriate to use depends on the
maximum white level of the display used to create the media. Preliminary standards
exist for HDR displays with peak luminance at 1000 nits, 2000 nits, and 4000 nits.
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P3-DCI (D60 sim.): Produces output that’s specifically for output on a DCI projector
with a D60 white point. This output may look magenta on other display devices that
aren’t set up for DCI display.
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P3-DCI (D65 sim.): Produces output that’s specifically for output on a DCI projector
with a D65 white point. This output may look magenta on other display devices that
aren’t set up for DCI display.
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Panasonic V35: Color management settings for each listed camera.
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Rec.2020: This IDT transforms media created with the wide-gamut standard for
consumer and broadcast television.
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Rec.2020 ST2084 (1000/2000/4000 nits): This IDT transforms media created
within the wide-gamut standard for consumer and broadcast television, using
the SMPTE standard PQ (ST.2084) tone curve for High Dynamic Range (HDR)
post-production. Three settings provided for HDR televisions with different peak
luminance capabilities.
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Rec.2020 HLG (1000 nits): This IDT transforms media within the wide-gamut
standard for consumer and broadcast television and uses the Hybrid Log-Gamma
(HLG) standard tone curve for High Dynamic Range (HDR) post-production. A single
setting is provided for HDR televisions with peak luminance at 1000 nits.
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Rec.709 (Camera): A deprecated legacy IDT for Rec. 709 that’s included for
backward compatibility. Converts the source data to linear based on Rec. 709 and
transforms the result to ACES, but while this transformation is technically correct, it’s
not necessarily pleasing after conversion through the matching ODT. For this reason,
the academy updated to the following Rec. 709 IDT, which is the inverse of the Rec.
709 ODT.
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Rec.709: A standard transform designed to move media in the Rec. 709 color space
into the ACES color space. This option is used for any other file type that might be
imported, such as ProRes from Final Cut Pro, DNxHD from Media Composer, and any
media file captured from tape.
Chapter – 7 Data Levels, Color Management, and ACES 232