FS7: Grading Hypergamma 7 in Davinci - scopes levels?

[Martin.G]

So i just watched Dougs tutorial on grading s-log 2 in Davinci, and picked up how the waveform is not based on IRE but on datalevels 0-1024. So i dialed in the limits 64 black and white point on 855 like in the manual. But my Hypergamma 7 footage that has been properly exposed to 90% white clips in the blacks. So when i dial in the blacks and the whites to balance this within the broadcast safe area, my images get really washed out and milky. I get no pop - and i wanted more pop, not less of it.

Is there a setting on my end that is wrong in Davinci? Does the data levels only go for s-log workflow?

 

[morgan_moore]

I guess your grading monitor is not broadcast levels? (or black at broadcast black would look black)

You should therefore grade full spectrum and 'deliver' broadcast safe levels if that is what your client needs?

Resolve would perform the data levels to broadcast levels transform automatically on the deliver stage.

Your 'delivered' file would there fore look washed out played back on your monitor but deep black on the clients broadcast monitor.

 

[morgan_moore]

Full spectrum = data levels.

To some extent this takes a leap of faith in that you are relying on Resolve to do the right thing in the conversion.

The other solution to avoid this 'leap' would be a proper broadcast style monitor on your suite.

Even more Ideally you would learn ACES which involves grading on a super wide gamut monitor (v costly) and outputting a suitable transform for the clients device(s). This is non destructive and allows delivery of outputs appropriate to many devices rather than pushing you to costly device specific regrades.

S