Post & the DI

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I would strongly suggest calibrating to rec709 2.4 gamma 100 nits. Many projects are graded on monitors calibrated to this and then they are converted to P3 for cinema projectors or there is a trim pass on a p3 calibrated projector. Not many colours of a typical scene are outside of Rec709. Most of the pointer gamut (gamut of all surface colours) are within 709, so your image typically does not contain a great amount of data which cannot be represented in 709. Unless you are working on high end theatrical films where the whole pipeline is P3 I think rec709 is the way to go.

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