Color Science = ACES, using “LMT Neon Suppression” CLF, ODT = Rec. 709
Davinci YRGB Color Managed, Input Color Space = Blackmagic Design 4.6K Film Gen 3, Output Color Space = Rec. 709 Gamma 2.2
I’m far from a regular Resolve user, especially for non-ACES projects, so without a viewing LUT for BMD 4.6K Film Gen 3, I don’t know how you would properly render and view this image in regular Davinci YRGB mode.
Though it’s still not perfect, I prefer the LMT version.
I have indeed been using the default debayer (same as your ref still), I have changed it to Full Res in the Camera Raw settings under the project settings panel and it significantly changed the artefacts for the better (for some reason Resolve sets this to Quarter Res?). I have set my project settings to match the resolution of the footage and again artefacts got better again specially around the candle light (It was set to 4096x2160). I think I agree with @sdyer and the LMT Neon Suppression does the trick with delivering better uniform color to the LEDS. Thank you for the GamutCompressor, I have played with it and feels like a very useful tool.
I switched to the Sony FX9 earlier this year and have been running into this problem more than with any other camera. The camera can really resolve deep deep blues and reds. FX9 really fills up the whole S-Gamut3 color space. This shot of the guitar is the most extreme I have ever seen. Every highlight on the guitar strings was just bonkers.
I am glad I found this thread. In Resolve choosing Neon Suppression is totally enough to fix it.
Is there any way to limit this DCTL to the inside of a Power Window in Resolve? I tried using the OFX level DCTL on a node, but it didn’t have any effect. It then occurred to me that this DCTL probably needs to be applied before the IDT is applied, correct?
The DCTL works marvelously for fixing the blue LED artifacts, but on many shots it adds a bit of a magenta cast that throws off my existing grade. I’m hoping the only workaround in Resolve is to composite the DCTL’ed version of the clip over the non-DCTL’ed version…
Not before the IDT, but it does need to be applied to linear ACES data. That means if you apply it in an OFX DCTL node you would need to sandwich it between an ACEScct-to-ACES node and an ACES-to-ACEScct node.
You don’t need extra Color Space nodes. The DCTL version has an optional conversion from ACEScct at the start, and if selected converts back to ACEScct at the end. I didn’t include the option of ACEScc. Do people feel it should have that?
Regarding colour casts, it is worth experimenting with the different compression curves, as they all affect the image slightly differently.
While this thread contains many great examples and the solution for this frequently encountered problem, a summary of this helpful thread can be found in ACES Knowledge Base article.
Note: This matrix “fix” works, but, because it shifts all colors, was always considered to be temporary until a more robust solution could be found. Fortunately, ACES 1.3 introduces a new and improved solution to this issue with a Gamut Compression operator.
This improved solution is the result of the fantastic work of the ACES community via the Gamut Compression Virtual Working Group. The report from the architecture group summarizes the problem and explains the mechanics of the solution, including user testing. An implementation-focused spinoff of that group is currently meeting to provide usage guidance and assist vendors in implementing this solution directly into their products.
