Color Management Setting for D-Cinema delivery + Realtime Playback (Apple Prores 442HQ files)

[Moein]

Hello

First I’m really appreciate it for reading and response to my questions.

I’m searching on internet for my very very complicated issue but I can not find any solutions.

I shoot with Sony A7 III with the Ninja so I have Apple Prores 442HQ files,

1- I would deliver my project for DCP and D-Cinema and also I would you deliver my project for web or Netflix, Could you please tell me your suggestion?

2- how can I change my setting for realtime playback? With my system and any node just I have 6 Fps.

 

Here I attached some photo about my setting.

now i use Mac mini 6c i7 + Razer Core X Chroma + AMD Radeon RX 5600XT with Blackmagic Radeon Pro 580 on MacOs BigSur.

Thank you.

All the best.

[Rogério Moraes]

Hello

 

    I'm not familiar with theses tabs. Are you using Resolve 17? The color management scheme has changed? 

On 16, I 'm used to bypassing the input color space. At the timeline level I use the "biggest" color space on my deliveries (in this case, P3-DCI, since I have P3-DCI monitoring capabilities...if you don't, you should always use your output for color grading according to your monitor). Doing so, im able to output TIFF X'Y'Z' 16 bit for DCDM ( the Digital Cinema master) or an already compressed j2k file (X'Y'Z' color model), by outputting the color space to P3-DCI. This will be the "master output" to DCP.  When delivering for streaming or broadcast , the most comum output will be rec709 (gamma 2.2 or 2.4). You will have two "masters". One for D-Cinema and other for web/ TV/ streaming.  

Don't know why you are having real playblack capabilities. 

I'm about to do a post on double deliveries like you ask... but with different problems.