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I think I understand the argument here, I just don’t agree with the results
That’s ok 🙂 I just wished that they standardized some reference black levels alongside BT.1886 (a bit more specific than the very generic recommendations they make in that regard) so that users actually have some guidance how to setup their devices directly from the standard (although EBU kind of provides that).
In Resolve, “Resolve Color Management” refers to an in app workflow that is separate from OS color management.
When you don’t activate “use display profile” (which is an option that only seems to exist in the macOS version of Resolve) or on Windows, definitely. In the other case, I’m not sure.
I’m just going by the gamma section of the calibration report in DisplayCal here. Maybe you can write a more clear explanation of this Florian?
I can try if you give me some pointers as to what needs clarification.
I know this stuff is not so easy to explain 🙂
No kidding 🙂
Don’t most home TVs use IPS panels? (Excluding plasma or OLED)
Most home LCD TVs use some type of VA panel. Good for contrast, not so good for viewing angles.
2.4 to 2.2 is a significant difference though.
In direct comparison, maybe. But otherwise? No. We’re mostly talking about a difference in relative luminance in the midtones of roughly 3%. Not nothing, but I wouldn’t call it significant when isolated (which is usually the case in homes, only few people have several TVs sitting next to each other).
So, my point is, that it’s hard to really pin down THE standard here.
I think BT.1886 combined with a few pointers from EBU gives a relatively good and real-world idea what a standardized grading target might be (BT.1886 with <= 0.05 cd/m2 black, which is a black level that most home TVs can pull off), although of course that requires a capable grading display. So maybe gamma 2.2 with all output offset works better if the grading display black level isn’t up to snuff?
In Resolve, “Resolve Color Management” refers to an in app workflow that is separate from OS color management.
When you don’t activate “use display profile” (which is an option that only seems to exist in the macOS version of Resolve) or on Windows, definitely. In the other case, I’m not sure.
It’s not about mac/pc “use display profile” at all.
In Resolve (all versions) there are 3 choices of “color management” workflows. All not connected to the display. Display LUTs are a separate setting)
- “Resolve YRGB” ( think it’s called) is basically no color management system at all.
- “Resolve color management” This workflow requires tagging the source footage color space, declaring a timeline color space, and selecting an output color space (P3, REC709 etc.). Transforms are applied automatically here, but… not to the display color space. That is selected in the settings menu under “color management” (just to confuse things) and applies to all 3 workflows.
- ACES. The motion picture academy’s version of “Resolve Color Management”.
So, it seems to me that you are confusing “Resolve color management” workflows with OS color management applied to Resolve. They are two separate ideas. So, it seems to me least confusing to not write “Resolve Color Management” when referring to OS .icc profiles and such. One idea is not linked to the other.
You could say “Photoshop Color Management” and the ideas would be linked. But, not in Resolve.
In Resolve (all versions) there are 3 choices of “color management” workflows. All not connected to the display. Display LUTs are a separate setting)
If you don’t use a display LUT, and tick the option “use display profile” (only available in Resolve on mac), then yes, Resolve will do color management as well, with the flaws I pointed at. That’s all I was saying.
Hello guys, i could not take the time to answer, only coming back from work.
Bruce, i was talking about having a preference for 2.4 over BT 1886.
All right, i thing i do understand your point about using 2.4 or even 2.2 over BT1886. The thing is, having a color chain in BT 1886, for people watching footage on their tv IPS or even LED panel at night, or in blacked room would make sense. That is at the beginning, the purpose of choosing a specific gamma, even 2.2 for smartphone and monitor displays. It is easy to see at the end of a movie, when the lights turn on, the blacks of the credits are completely mushy..
So, the question to follow a standard or to tweak the standard based on his own impressions of what work best, is an endless but interesting subject.
What would be more interesting is to understand how resolve works (maybe everybody except me knows that).
Florian, you say that Resolve “use mac display color” does not support LUT Based profile.. like preview. Could you be explain it to me in another way ?
I mean : by clicking the option “use mac display color”, the GUI from Resolve will use the ICC profile created trough display cal (or any other icc profile) and used in the color settings on the Macbook main laptop screen.. so, what does resolve when the option is left unchecked ? how the footage is interpreted ? And, as a side note, i can have an export (played by quicktime, IINA, or opened in safari) that is quite close to my EIZO screen in resolve (using a 2.2 rec 709 3D LUT in resolve settings – color management set to YRBG), but it won’t be as close in the Resolve GUI, even when mac display color is checked.. how is that possible ? the export and the display of the file should remain close, even when the software playing the export can introduce a new factor, the GUI use the ICC profile, so a still should look the same in the GUI and after the export in Preview..
I mean : by clicking the option “use mac display color”, the GUI from Resolve will use the ICC profile created trough display cal (or any other icc profile) and used in the color settings on the Macbook main laptop screen.. so, what does resolve when the option is left unchecked ? how the footage is interpreted ? And, as a side note, i can have an export (played by quicktime, IINA, or opened in safari) that is quite close to my EIZO screen in resolve (using a 2.2 rec 709 3D LUT in resolve settings – color management set to YRBG), but it won’t be as close in the Resolve GUI, even when mac display color is checked.. how is that possible ? the export and the display of the file should remain close, even when the software playing the export can introduce a new factor, the GUI use the ICC profile, so a still should look the same in the GUI and after the export in Preview..
You would think it would work correctly this way in the GUI on a Mac, and I’ve tried it, and it wasn’t quite correct on the GUI. It would be best to not check “Use mac display profile” and create a 3D LUT for your mac gui screen if you really desire some kind of match here to your Eizo connected through the decklink device.
