Color space, Timeline setup and delivering compressed files

[Stefano Barozzi]

Hello

the director i'm working with is not happy about the h264 .mp4 file I'm getting converted by Adobe Media encoder

from the DNxHR HQX master color, that is fine. We are in a very low light mood, working in a timeline 709 2.4 gamma,

and the compressed file levels are not so precise.

I tryed an sRGB timeline, I tryed also a 709A (Apple IOS color space)

using even the TAG in the delivery advance setting before to re-export the DNxHR HQX but all the files look the same, it is frustrating.

I even tryed to export directly the h264 from Resolve with different color space timeline, I can't see any difference.

Where I'm doing wrong? I'd would like just to be sure I'm delivering a compressed file for the web with the best color space set up I can.

Cheers

 

[Rogério Moraes]

If you're not using de RCM on DaVinci, the timeline has little to no effect on your image. But I do recommend that if youre mastering on a rec709 gamma2.4 monittor, keep the timeline that way. The output file will carry this metadata. The output file is a problem, since you should convert the DNxHD to a proress. The h264 not only compress to much your imagem and also can generate color shifts. With the media encoder you should not have this problem. Also, try the Premieire. but be aware that Premiere may incorrectly read the tag metadata. Just be sure that what you see in preciere reflects what you see on Resolve.

 

[Stefano Barozzi]

Thanks Rogerioo I realized that if you are not in RCM the best way is to keep the timeline 2.4 and to make a node working on the entire timeline with a CST open FX  that change the 2.4 gamma to 2.2 for the WEB it works fine.... Even if the best way is to set the project in RCM at the beginning. Thanks