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standards. The way this works is that levels at 100 nits are mapped to the maximum value set for the
Timeline Working Luminance parameter, and all other image levels are strategically tone mapped in
order to give yourself a good starting point for grading SDR media into an HDR program.
This setting also has a secondary use. With this setting turned on, you can output Rec. 709 clips with
color that’s identical to the input, with no compression in the highlights.
NOTE: Turning on “Use Inverse DRT for SDR to HDR Conversion” may exaggerate noise in
imported SDR media with large flat expanses of bright colors.
Use White Point Adaptation
This control applies a chromatic adaptation transform to account for different white points between
color spaces.
– Uncheck this box if you simply want to view the input color space’s white point unaltered in the
output color space. For example, wanting to use a P3-D60 mastered clip inside a P3-D65 timeline
for reference purposes.
– Check this box to apply the chromatic adaptation transform to convert the input white point to
match the output color space’s white point. For example, wanting a P3-D60 mastered clip to cut in
with other clips mastered in a P3-D65 timeline.
NOTE: This control is only visible while the Resolve Color Management presets menu is set to
Custom Settings.
Color Space Aware Grading Tools
In DaVinci Resolve version 17, both Resolve Color Management and ACES enables “color space aware”
palettes, such as the new HDR palette, to have controls that feel consistent, no matter what color
space the original media is from, or what Timeline Color Space you’re using.
Other palettes, such as the Qualifier and Curves palettes, become color space aware when you turn
on the “Use Color Space Aware Grading Tools” checkbox in the Color Management panel of the
Project Settings (this is turned on by default). When you’re using color space aware grading tools, you
should not turn on HDR Mode for the node you’re working on.
– In the case of the Qualifier palette, this enables Qualifiers to create high-quality keys as you would
expect, no matter what the color space of the original media is, or what Timeline Color Space
you’re using.
– In the case of the Curves palette, this makes the overall range of each curve better fit the overall
data range of the current clip, making curves adjustments easier and more specific.
NOTE: This control is only visible while the Resolve Color Management presets menu is set to
Custom Settings.
Apply Resize Transformations In
When you’re using Resolve Color Management, a new “Apply Resize Transformations In” Project
Setting is available in the Color Management panel while the Resolve Color Management presets
menu is set to Custom Settings. This setting lets you choose which color space is used for resizing
Chapter 9Data Levels, Color Management, and ACES 207
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