Help with P3-D65 ProRes 4444 tagging, import workflow and delivery

First time posting, but I’m throwing a hailmary for help so any guidance is greatly appreciated. I’m slow to get on the train to grasp all the various color tags for the newer formats, just been doing good old rec 709 forever. I finally have been given a SDR job delivering P3-D65 with a 2.2 gamma. What is the simplest way to Import resolve delivered QuickTimes that are tagged P3-D65, 2.2 Gamma, ITU-R BT.709 and after cleanup etc be able to reoutput the exact same tags and image (In a Legacy project) for delivery to a client. My color management prefs are all set to DCI P3-D65. I have run through every P3-D65 color management display settings both on import and from a raw clip tagged unknown on the desktop. No luck exporting an identical image exported, and the Flame’s QuickTimes add a newer line of meta data in its files “Transfer Function SMPTE ST 428”. The resolve files have code point (12-4-1). The Flame’s output (12-17-1) and less gamma and sat. Pulling my hair out, and I’m sure it’s a quick 3 step process that I missing. And every artist I have asked has just shrugged their shoulders. Any tips greatly appreciated. Colorist’s project setting snap attached.

Apple uses Display P3 which has gamma 2.2 :thinking:

I am not in front of my box yet but I will take a look at the flame settings once I get in and see what might work.

Here is the NCLC code table for reference

Maybe you could download - AMCDX Video Patcher and manipulate the tagging that way.

So long as you haven’t changed the grade you should get the same result. You are just fixing the metadata after all.


What is the media you are being given being used for? Is your Flame workflow media-in, no colour transform then media-out?

CineX Meta is the best metadata editing software I’ve come across but it’s not cheap enough to justify for a one off project.

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Thanks for this very helpful. So in theory I could import traditionally and leave everything unknown/raw, do the insane requests cleanup wise and export 4444 files, then use this utility to change the meta data. The job involves 3 minute plus 4k clips, so I don’t want to be repeatedly outputting things wrong. huge time suck! Just want to streamline the job since there will be more down the road.

It beautifully graded drone shots that are really long durations. They require cleanup and timewarps etc. The director is very involved in the color session, so I do not want anything shifting from my handoff from the Colorist. I would be importing his P3-D65 2.2 renders and then fixing things and outputting masters for the client to review on an Apple Pro XDR monitor remotely. I would assume he would side by side the grade the cleaned up masters. They are not for tradional broadcast, possibly for Monitor displays looping.

No problem @evanguidera :smile:

It would be worth doing a round trip with the material. Even before you do any of the clean up. Test a v00 by bringing in a clip and exporting it out. Changing the tagging and then getting the colourist to check it. This isn’t to expose any knowledge gaps you feel you might have but instead to show your thoroughness and attention to detail :grin:

There could be something else that you need to fix (Legal vs Full :person_shrugging: ) and if they are indeed very long clips, you’ll want to solve this now.

Best of luck and let us know how it goes :+1:

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I would then definitely not tag any media. Are you returning your work back to the colourist? If so, they can tag the media correctly in Resolve (assuming that is what they are grading in by your screenshot) and then there should be no issues.

If you are mastering directly out of flame, you could potentially ask to send a test file to ensure that it is displaying as intended. You may not need to tag the gamut & gamma for this delivery. To be safe, I would probably ask for some delivery specs to be 100% sure. It is an unusual combination of gamut & gamma so would assume it is being played on some kind of computer display. You wouldn’t pick this combination for domestic LED/OLED TVs for instance. If delivery requires proper tagging then you may need to look into something like CineX Meta to retag the clips. I have looked around for other tools but am yet to find anything as extensive as CineX Meta. There are some free tools about though so if you want to save yourself some dollars you could look into other alternatives to edit metadata.

A word of warning, I have experienced more than several times a D.O.P. trying to stipulate grading in a specific colour gamut/gamma because they think they know best when they are actually wrong. It takes a bit of education to correct this. Not suggesting that this is the case here but if you want to be prudent, you could check they have picked the correct colour space for delivery.

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Hey @AdamArcher
Can CineX Meta do bulk converts? I mourn the loss of JES Extensifier and it’s developer. Used to be able to convert a folder full of files but now with AMCDX Video Patcher I can only do one at a time.

Unfortunately the GUI is one at a time too, but it may have some kind of command line tool?

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Thank you for this info. yes my test so far are using the colorist first test outputs with that wacky combo the client requests. I will be delivering at the end, but I just want to 100% in my convictions and be able to say they match the Graded files. This job is strange, and NDA. I think the goal is files that are used in an app or OS for Looping screen savers of some sort on pro desktop monitors. The job just kicked off, but so many hands involved. Appreciate your wisdom! Also I would guess the spec will change too haha. Yes grading with DP’s is always…well you know.

AMCDX worked, so easy and simple to use too. THANK YOU KIND SIR!

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