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"7)...Also, I try to avoid computers making assumptions for me when ever possible because I'm a bit of a control freak in that respect."...quote from Matt regarding working with ICC profiles in a display space.
Not to avert you, Matt, from addressing K Wasley's understanding with even more mind numbing complexity, but just some clarity with regard to ICC profiles.
Seeing shooting digital cinema is basically still photography at 24 frames continuous burst rate per second at 1/24's shutter speed, why can't this industry get still and moving pictures operating on the same standards in order to future proof both formats to insure "intent" of the look is preserved.
ICC profiles with regard to ONLY display calibration employ the same color space transforms on the fly (matrices or LUTs to manipulate the video card on the computer) that function the same as the DCI-P3 to XYZ standards for projectors. Except with D-Cinema the device viewed on (projector) must always have to flip a switch by reading the DCP (I'm assuming) to do the conversion. That's a bit of an assumption on its own as well and seems to be working quite well from the current movies I've seen as long as everyone upstream & downstream in the production line adheres to a color space standard.
Or are current devices, smartphones, iPads, Blu-Ray, etc (not just projectors) the consumer views content on present the creator's intent close enough by adhering to a DCI standard? Is this standard easier to adhere to than ICC which uses a tagging of content data system that basically carries the converter switch within the tiff/jpeg with still images in the form of a profile? Video doesn't seem to be able to employ this color intent preserver strategy instead employs a standard color space describer and trust proprietary devices that play content stick to this standard.
It's a mess to say the least IMO.Back to Post & the DI...