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encoded clip is automatically normalized to the default Timeline Color Space of Rec. 709 Gamma 2.4.
So, without even having to open the Color page, editors can be working with pleasantly normalized
clips in the Edit page.
The Input, Timeline, and Output Color Space
The foundation of Resolve Color Management rests on three core settings. Not only do you have the
ability to either automatically or manually identify the color science of each individual source clip (the
Input Color Space), but you also have explicit control over the working color space within which all
color adjustments and operations are made (the Timeline Color Space), and you have separate control
over the Output Color Space that defines how your graded image will be monitored and output.
This means that, basically, Resolve Color Management consists of two color transforms working
together, converting each source clip via its Input Color Space definition into the Timeline Color Space
in which you work, and then converting the adjusted image from the Timeline Color Space to whatever
Output Color Space you require to deliver the project.
Input Color Space Timeline Color Space Output Color Space
Resolve Color Management consists of three color transforms working together.
This means that, as a colorist, you can set the Timeline Color Space that you’re working in to whatever
you prefer. If you prefer grading wide-gamut log media because you like the way the grading controls
behave in that color space, you can set the Timeline Color Space in the Color Management panel of
the Project Settings to DaVinci Wide Gamut (more on this below), or any of the available log formats,
including ARRI Log C, REDWideGamutRGB/Log3G10, and Cineon Film Log. If you instead prefer
grading in the Rec. 709 color space because you’re mastering a standard dynamic range (SDR)
program to Rec. 709 and you’re more comfortable with how the controls in DaVinci Resolve have
always felt in that color space, you can choose that instead. Whatever Timeline Color Space you
assign is what all source clips will be transformed to for purposes of making grading adjustments in the
Color page, so you can make this choice using a single setting.
A key benefit of the color space conversions that RCM applies is that no image data is ever clipped
during the Input to Timeline color space conversion. For example, even if your source is log-encoded
or in a camera raw format, grading with a Rec. 709 Timeline Color Space does nothing to clip or
otherwise limit the image data available to the RCM image processing pipeline. All image values
greater than 1.0 or less than 0.0 are preserved and made available to the next stage of RCM
processing, the Timeline to Output color space conversion.
Consequently, if you’re grading in a color space other than the one you need to output to, you don’t
have to worry about data loss during the color transformation back to the color space you actually
want to output to. The Output Color Space setting gives you the freedom to work using whatever
Timeline Color Space you like while grading, with Resolve automatically converting your output to the
specific color space you want to monitor with and deliver to. And thanks to the precision of the image
Chapter 9Data Levels, Color Management, and ACES 193
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