Hey all, I have a timeline in Flame (source was Arri logC4) that was colored and then converted using Arri’s official logC4 ->DCI P3 conversion LUT as a timeline conversion node on top of everything. The final image looks perfect on the reference monitor, projector and the GUI monitor which are all calibrated to DCI P3.. The client now wants a DCDM (XYZ) conversion of this final timeline. How does one convert from DCI P3 in Flame 2026 using the new color management timeline node with OCIO presets?
The closest I could get was to use some legacy presets but it appears off. There is also no longer an X’Y’Z’ display preset that allows viewing an XYZ file with an embedded 2.6 gamma. Feeling stuck here.. Thanks for any tips.
Hmmm, i dont think this is right. There should be some WB adjustments from d65-dciWB. Was it graded at 100 nits? if so it need to be adjusted to 48 nits (14ft lambert). There are a few more things. I used to do this with syncolor but you are right, they removed the dci-xyz stuff…
Yes, it was graded at 48 NITS and is already in theatrical DCI white point. When exporting the timeline in DCI P3 color (as is) and making a DCP using DCI P3 color as the input source, the DCP looked perfect in multiple calibrated theaters. All that said, do you think this needs anything else.. Really sucks they got rid of those DCDM viewing presets from the last version.
what is the D65 reference in the xyz? If they have graded to a DCI whitepoint does there need to be a DCI whitepoint specified in the xyz? My understanding is that a white point would not need to be specified as the transform from either a P3-D65 or P3-DCI colourspace into xyz would put the whitepoint in the correct space within xyz that reflects whether they had graded to DCI or D65?
Is it just a label that isn’t reflecting what is going on under the hood?
@AdamArcher, color management systems such as OCIO (and ICC) are built using connection color spaces that have a specified viewing environment. If the viewing environment were not fixed, the CMS would have to be more complicated, for example, adding in its own chromatic adaptation. OCIO itself does not add any chromatic adaptation, it needs to be done in the transforms themselves.
For most color spaces, there is only one allowed neutral axis and it corresponds to R==G==B. This is true for both P3-D65 and P3-DCI. But CIE XYZ is different and the use of a range of white points is explicitly allowed for cinema – the creator of a DCDM/DCP is allowed to choose their own creative white point under the presumption that the observer will mostly adapt to it in a dark room (although adaptation to the green DCI white often does not happen and so projects graded in that space often have a magenta cast and cannot easily be repurposed for video). Therefore, when connecting CIE XYZ into a color management system, it’s necessary to specify the expected adaptive white point.
The “DCDM G2.6-XYZ-D65 - Display” color space in the current default config will map the neutral axis to D65 in the XYZ color space. It’s possible to use the earlier color management presets to map the neutral axis to the DCI white point in XYZ. But there are a lot of potential problems associated with making deliveries in the DCI white point, so I don’t recommend it.
I haven’t actually experienced anyone grading with a DCI white point for years. All the projects going through theatrical grades have been grading with a D65 whitepoint. Makes sense for when they move into the Home Entertainment grade.
thanks for clarifying. My understanding was that in the P3 grade you could choose either a DCI or D65 whitepoint point and the colour transform into XYZ (as you would pick either a P3-DCI to XYZ or P3-D65 to XYZ depending by on your white point temp) would ensure that you white point was at the same temperature within the XYZ colourspace. It does make sense that the transform should define the white point though of the destination.
