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is Sony BVM-L230 D-Cine similar to P3

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Sally Shamas
is Sony BVM-L230 D-Cine similar to P3
on Apr 9, 2016 at 10:58:00 am

Hello people,

Im grading a feature on davinci using Sony BVM-L230 (which has colorgamut option: D-cine, wide and rec709 ) im using davinci on video levels and the monitor on rec709 considering that it will be converted to P3 for DCP.
1st question: if im working rec 709 and will convert later to P3 should i use video or data level so my conversion will be accurate.
2nd question: is D-Cine similar to P3(Sony says it is?!) and should i put it on the monitor and work on davinci with data level. Im grading Alexa footage 4:4:4
P.S. we dont have a grading monitor that displays P3.

Sally Shamas
D.I. Colourist


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Chris Wright
Re: is Sony BVM-L230 D-Cine similar to P3
on Apr 10, 2016 at 3:40:39 am
Last Edited By Chris Wright on Apr 10, 2016 at 3:54:57 am

video is 16-235 so I don't think you'd use that unless grading to NTSC or something.

you would need a D-cine color matrix transform lut for your calibrated monitor. It would convert from ( P3/rec. 2020 spyder color probe or i1D3 Display Pro) to D cine (preview mode) because profile luts and calibration luts are different.

the D-cine is missing red-green components so is not a true P3, but it is larger gamut than rec. 709, so grading would be less guessing although the workflow may be more complicated.

finally create a D-cine (profiled as P3/rec. 2020) to DCP (which is actually XYZ) although many programs, such as premiere, support a rec. 709 directly to XYZ. Most don't need a P3 intermediate. Post houses can handle many imports, just ask them what they need.

also, check your white levels to match a theatre's white level.
your monitor specs are 100 cd/m2 (D-Cine: 48 cd/m2) (when 100% white signal is input)
a theatre (properly calibrated) @ 14ftL( 48 cd/m^2) matches your monitor at 100% white with d-cine.

just keep that in mind when making custom transform luts as 120 cd/m2 is the normal brightness of a 2.2 gamma rec. 709 computer monitor and you probably don't want to edit in a dark room @ 48 cd/m^2 - 2.6 gamma. (due to eye strain)
example:
2.2 gamma in a bright room
2.4 gamma well-controlled grading room. a good compromise for eye strain and color quality.
2.6 is DCP theatre standard

a how-to-guide for cinematic color:
http://github.com/jeremyselan/cinematiccolor/raw/master/ves/Cinematic_Color...


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