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This is to prevent accidentally overdriving HDR displays for which there are
negativeconsequences (not all HDR displays have this limitation).
ST.2084 300 nit
ST.2084 500 nit
ST.2084 800 nit
ST.2084 1000 nit
ST.2084 2000 nit
ST.2084 3000 nit
ST.2084 4000 nit
This setting is only the output EOTF (a sort of gamma transform, if you will, using the
terminology that DaVinci Resolve’s UI has used up until now).
3 Next, choose a setting in the Timeline Color Space that corresponds to the gamut you
want to use for grading, and that will be output. For example, if you want to grade the
Timeline as alog-encoded signal and “normalize” it yourself, you can choose ARRI
Log C or Cineon Film Log (this workflow is highly recommended for the best results).
If you would rather save time by having DaVinci Resolve normalize the Timelineto P3-
D65 and grade that way, you can choose thatsetting as well. In terms of defining the
output gamut, the rule is that if “Use Separate Color Space and Gamma” is turned off,
the Timeline Color Space setting will define your output gamut. If “Use Separate Color
Space and Gamma” is turned on, then you can specify whatever gamut you want in the
leftOutput Color Space drop-down menu, and choose the EOTF from the right drop-
down menu (as described in step 2).
4 Be aware that, when it’s being properly output, HDR ST.2084 signals appear very
“log-like,” in order to pack awide dynamic range into the bandwidth of a standard
video signal. It’s theHDR display itself that “normalizes” this log-encodedimage to look
as it should. For this reason, the image you see in your Color page Viewer is going to
appear flat and log-like, even though the image being displayed on your HDR reference
display looks vivid and correct. If you’re using a typical SDR computer display, and you
want to make the image in the Color Page Viewer look “normalized” at the expense of
clipping the HDR highlights (in the Viewer, not in the grade), you canuse the 3D Color
Viewer Lookup Tablesetting in the Color Management panel of the Project Settings
to assign the appropriate ST.2084 setting with a peak nit levelthat corresponds to the
HDR broadcast display you’re outputting to.
5 Additionally, the “Timelineresolution” and “Pixel aspect ratio” (in the project settings)
that your project is set to use is savedto the Dolby Vision metadata, so make sure your
project is set to the final Timeline resolution and PAR before you begin grading.
DaVinci Resolve Grading Workflow For Dolby Vision
Oncethe hardware and software is all set up, you’re ready to begin grading Dolby Vision HDR.
The workflow is fairly straightforward.
1 First, grade the HDR image on your DolbyVision Certified Mastering Monitor to look as
you want it to. Dolby recommends starting by setting the look of the HDR image, to set
the overall intention for the grade.
2 When using various grading controls in the Color page to grade HDR images, you
may find it useful to enable theHDR Mode of the node you’re working on by right-
clicking that node in the Node Editor and choosing HDR Mode from the contextual
menu. Thissettingadaptsthat node’scontrols to work within an expanded HDR range.
Chapter – 8 HDR Setup andGrading 250