Our latest version of CineMatch for DaVinci Resolve contains support for DaVinci Wide Gamut (DWG), which means you can use the plugin with color managed workflows. You can download this version of the plugin from here.
Read below instructions of how to use CineMatch both with and without color management enabled.
Using DWG in CineMatch with Color Management
These are the settings required for using CineMatch with DaVinci Wide Gamut /DaVinci Intermediate with Color Management on.
The settings are obtained easily by selecting the Color Processing Mode, HDR DaVinci Wide Gamut Intermediate and then selecting the Custom settings.
The important aspects to change from this mode are:
- The Nits level should be set to the maximum for DaVinci Intermediate (10,000).
- The tone mapping for the Input DRT needs to be turned off.
These two changes make sure that the footage is not modified before CineMatch receives it (apart from the IDT conversion). If you are not matching footage shot by shot, then potentially these changes are not critical.
Any output options can be changed to suit.
Node one: CineMatch should be the first node in the Color Management setup. Care should be taken to ensure that Resolve has selected the correct IDT.
There are two new settings in CM to support DWG, Input Space and Output Space. The Input Space needs to be set to DWG DI. Once set, the Output Space is locked to DWG DI also. If the IDT is bypassed, then set the Input Space to Selected Camera, and the Output Space to DWG ID.
Node two: General grading should go here and subsequent nodes as per a normal Resolve workflow.
Using DWG in CineMatch without Color Management
These are the Color Management settings required for using CineMatch with DaVinci Wide Gamut / DaVinci Intermediate in DaVinci YRGB. The output space can be anything you require.
Node one: There are two possible nodes that can the first node in this workflow. The first option is to use a CST to convert your footage to DWG DI.
You need to ensure that the tone mapping is off in the initial CST to ensure good matching. Note that if you are not matching footage shot by shot, then potentially it is not required to turn the tone mapping off.
Node two: This node should be CineMatch. The correct input and output cameras still need to be selected, and additionally the Input Space needs to be set to DWG DI.
The Output Space is locked to DWG DI as well.
Node three: General grading should go here and subsequent nodes as per a normal Resolve workflow.
Final Node: This is the output node which is a CST to convert from DWG DI to the output space specified in the Color Management settings.
Node one alternative: The second option for the node graph mentioned above, is for the first node to be CineMatch. In this case set the Input Space to the Selected Camera, and CineMatch will perform the conversion to DWG DI itself.
Set the Output Space to DWG DI.
If you have any further questions, please contact us at support@cinematch.com.