Office Hours LIVE! LUTs, Color Management, HDR, and Cinema Workflows

April 26, 2023

Four Mixing Light Contributors help one of our members solidify their color management settings & workflows for HDR and cinema color grading.


Answering Member Questions – 2023 April 06

Mixing Light Contributors Kali Bateman, Zeb Chadfield, and Peder Morgenthaler join host and CEO Patrick Inhofer in leading a Mixing Light Office Hours discussion. Today’s discussion includes:

  • Our newest Mixing Light Contributor, Kali Bateman, tells us a little about herself
  • The Contributor panel shares what they’ve learned new, recently
  • How to set up color management for a short film – including the current recommended settings (as opposed to what Dolby recommends in their online training)
  • Zeb’s recommended custom color management settings for HDR and Dolby Vision color grading
  • How to set Timeline Working Luminance if you’re starting in SDR and moving to HDR?
  • What are the preferred Input DRT and Output DRT settings?
  • Which first: HDR grade or SDR grade?
  • Understanding the ‘Rec. 709 (Scene)’ and ACES ‘SRGB Texture’ Input Color Spaces
  • How to set up a color pipeline using the ARRI LogC to Rec709 LUT?
  • Why can’t one of our members get a good-looking image on the projector after grading for Rec709?
  • What about changing up the color pipeline in the middle of an ongoing series?
  • Why do colorists frequently prefer to re-create LUTs handed to them by the cinematographer

Mentioned in this Insight


  • 2:52 – Kali Bateman tells us a little about herself
  • 5:45 – Zeb talks about raising the base level of happiness in his life
  • 9:30 – Patrick talks about the effects of picking up a skills-based hobby
  • 12:31 – Peder shares his new low-profile LCD Omniscope display
  • 15:35 – Mixing Light member Maria tells us a little about herself
  • 17:20 – Maria Question 1: How should she set color management for a short film?
  • 24:28 – Why Zeb always turns off the ‘Use Inverse DRT for SDR to HDR conversion’ option
  • 25:21 – Zeb recommends setting ‘Graphics White Level’ much higher than the default
  • 26:13 – Why Zeb recommends moving to Resolve 18+ for color-managed workflows
  • 26:45 – Question: Is setting an HDR ‘timeline working luminance’ okay even if you’re working in standard dynamic range?
  • 29:29 – Further discussion on Graphic White Level
  • 30:47 – Question: Setting Input and Output DRT to ‘None’?
  • 34:52 – Kali asks if Maria would consider starting with the HDR grade first – rather than the SDR grade.
  • 38:37 – Kali’s experience on Elvis, using an OLED vs. cinema projector for color grading decisions
  • 39:48 – Question: Why is everyone starting to select ‘Rec. 709 (Scene)’ as the Input Color Space?
  • 41:19 – Using the ‘SRGB Texture’ Input Color Space for ACES workflows
  • 43:21 – The possible danger of using Resolve’s color space transforms
  • 43:52 – Question: Should I be worried about creating a LUT for on-set and worry about clipping?
  • 45:28 – Question: How to set up a color pipeline using an Arri LogC to Rec709 LUT?
  • 52:29 – The case for changing color management midway through an ongoing series
  • 55:53 – Why do colorists prefer to recreate a LUT handed to them by the DoP?
  • 59:13 – Any expectations for new reference displays at the upcoming NAB 2023 convention in two weeks?
  • 1:00:00 – Goodbye

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