This article briefly covers the following FAQs on using the Dolby Vision cinema targets and trims:
 

• What’s the intention behind the introduction of the cinema targets and trims?
• What kind of cinema targets are supported?
• Are the cinema targets and trims meant to start my initial cinema (DCI or Dolby Cinema) grade and then derive my HDR and SDR home versions?
• Which tools support the creation of cinema targets and trims?
• My primary delivery is a theatrical version. How would I use the Dolby vision process then?
• Do I need a DCI projector and/or a Dolby Cinema Laser Projector for the entire ‘trim’ process or can this be done using reference monitors?
• If I do a 48-nit SDR Cinema trim pass as my first ‘bottom anchor’ pass – do I still need to do a home 100 nit SDR Rec 709 trim pass?
• How will the Dolby Vision cinema trim metadata be delivered?
• How do I create cinema deliverables after using the Dolby Vision cinema trims?
• Do I need an additional license or additional software to unlock mapping and trimming for cinema targets?
• Can I deliver the finished home Dolby Vision mezzanine with cinema trims included?
• Do the new cinema trims affect the home trims in the XML and vice versa?
• Do I have to separate my home and cinema targets to individual XML files?
• How can I separate my home and cinema targets and trims into individual Dolby Vision XML version 4.0.2 files?

What’s the intention behind the introduction of the cinema targets and trims?

The Dolby Vision cinema targets/trims give creatives the option to derive a mapped cinema version at 108 nit HDR (Dolby Cinema) or 48 nit SDR (DCI), from their fully graded ‘home’ HDR master – similar to how people leverage the power of the Dolby Vision mapping for the SDR Rec 709 100 nit home master. Compared to using a color managed or LUT static mapping process, this is a great way to quickly derive cinema versions with creative controls for red carpet events, press screenings or for screenings at other special events or venues, especially when the HDR Master grade has been completed and the cinema version requires a quick turnaround.

 

 

What kind of cinema targets are supported?

The following targets (CINEMA) are supported:

• 48-nit, P3, DCI-white Gamma 2.6
• 48-nit, P3, D65, Gamma 2.6
• 48-nit, P3, D60, Gamma 2.6
• 108-nit, P3, D65, ST. 2084

 

Are the cinema targets and trims meant to start my initial cinema (DCI or Dolby Cinema) grade and then derive my HDR and SDR home versions?

The Dolby cinema targets & trims are an enhancement to the currently existing Dolby Vision home workflow. Therefore, the workflow starts with creating the HDR home master first, followed by the Dolby Vision analysis and optional trimming for HOME and/or CINEMA targets.

 

Which tools support the creation of cinema targets and trims?

Check the knowledge article Dolby Vision compatible Color Grading & Packaging Systems for tools supporting cinema targets/trims.

 

 

My primary delivery is a theatrical version. How would I use the Dolby vision process then?

If your primary delivery is aimed for theatrical distribution, the Dolby Vision home centric workflow with cinema trims is an option, but manual grading for DCI or Dolby Cinema first would be a more likely choice as there are more nuanced controls. Once finished with the cinema grade, you would then grade the HDR home version, followed by the usual Dolby Vision analysis and optional trim process. As you have already created your cinema version, there is no need to trim for additional cinema versions.

 

 

Do I need a DCI projector and/or a Dolby Cinema Laser Projector for the entire ‘trim’ process or can this be done using reference monitors?

Reference monitors can be used for the preliminary work, but it is highly recommended to check the final delivery masters on a projector. If it’s not possible to grade on a Dolby Cinema projector near you – it’s recommended to do the 48 nit trim version first, then look at the interpolated 108 nit target on a monitor to make any slight adjustments. Then you can render your 108 Nit PQ HDR derived grade and make a Dolby Vision Cinema DCP and rent out a Vision theater near you for a screening to make notes and then changes on your local monitor. When using reference monitors/displays for this purpose, it is critical to ensure that the monitor matches the projector as closely as possible.

 

If I do a 48-nit SDR Cinema trim pass as my first ‘bottom anchor’ pass – do I still need to do a home 100 nit SDR Rec 709 trim pass?

Yes, they are entirely separate. HOME and CINEMA targets are clearly separated by the newly introduced ‘application type’.

 

How will the Dolby Vision cinema trim metadata be delivered?

There are currently no content distribution channels that can utilize Dolby Vision cinema trim metadata. For example, the IMBs in the projectors do not currently support Dolby Vision metadata, and it is therefore not required for the DCP to have any embedded Dolby Vision content mapping metadata.
How to set up a monitor for a preliminary grade for DCI cinema or Dolby Cinema?
A monitor setup for the 48nit (DCI) target must be configured and calibrated to match the DCI projector that will be used for the final grade and finish as close as possible.
 

DCI – P3 Gamma 2.6

Signal format	RGB 4:4:4
Signal Range	Full or SDI Full
EOTF	Gamma 2.6
Black level	0.005 nit or match the black level of the DCI projector
Peak luminance	48 nit
Color gamut	P3
White Point	DCI (Xw 0.3140, Yw 0.3510)

A monitor setup for a 108 nit (Dolby Cinema) target must be configured and calibrated to match the Dolby Cinema projector that will be used for the final grade and finish as close as possible.

 

Dolby Cinema – P3 PQ

Signal format	RGB 4:4:4
Signal Range	Full or SDI Full
EOTF	SMPTE ST 2084 (PQ)
Black level	0.0001 nit or match the black level of the DCI projector
Peak luminance	108 nit
Color gamut	P3
White Point	D65 (Xw 0.3127, Yw 0.3290)

 

Note:

It is important to bear in mind that even with very precise measurements and calibration of the reference displays used, there will be perceptual differences between the monitor and the projector due to differences in the display type (emissive vs reflective), size of the screens, ambient light, viewing distance, etc. It is therefore recommended to use the monitors only for prework and preparation and always finalize and finish the trims using the appropriate projector and theatrical setting.

 

How do I create cinema deliverables after using the Dolby Vision cinema trims?

As there is no cinema mapping, the different (derived) cinema deliverables will have to be rendered out of the color correction or mastering system and mastered/packaged, according to the respective studio/client specifications. Hence in most cases, a Digital Cinema Package (DCP) will have to be created as a final deliverable for cinema content and this DCP will not, at least for the moment, contain any Dolby Vision content mapping metadata.

 

Do I need an additional license or additional software to unlock mapping and trimming for cinema targets?

The cinema targets and trim controls are covered by the Dolby Vision annual mastering and playback license. There is no extra license required. The updated version of the color correction system would contain the functionality. Check with your color correction vendor.

 

Can I deliver the finished home Dolby Vision mezzanine with cinema trims included?

Once you have trimmed for a cinema target, the color corrector will store the cinema trims along with the home trims to a Dolby Vision XML version 5.1.0. Ensure that your customer (studio or streaming service) accepts the new Dolby vision XML version 5.1.0. If not, we recommend splitting the home and cinema trims to separated Dolby Vision XMLs version 4.0.2.
 

 

Do the new cinema trims affect the home trims in the XML and vice versa?

No. All target displays will be updated with an application type denoted in the name which can either be ALL, HOME or CINEMA. Therefore, all target displays will contain a new metadata field <applicationtype> in the XML. To support this field, the new XML version 5.1.0 is introduced when exporting metadata with new cinema targets used. The application type enables users to independently trim to home targets and cinema targets and deliver a single XML or mezzanine deliverable.
 

 
 

Do I have to separate my home and cinema targets to individual XML files?

This depends on the capabilities of our customer to process version 5.1.0 XML files. XML version 5.1.0 is supported in the Dolby Vision Professional Tools from version 5.2. upwards and the Dolby Vision Pro Encoder SIDK version 6.0 and upwards.

 

How can I separate my home and cinema targets and trims into individual Dolby Vision XML version 4.0.2 files?

If you created an XML version 5.1.0 containing both HOME and CINEMA application types, you might want to create separate version 4.0.2 XMLs for application type HOME and for application type CINEMA. Use Metafier to separate a single version 5.1.0 XML into two 4.0.2 XMLs.

Creation of a 4.0.2 XML containing application type HOME:

./metafier --save-version 4.0.2 <input_version_5.1.0.xml>
 

Creation of a 4.0.2 XML containing application type CINEMA:

./metafier --target-application-type CINEMA --save-version 4.0.2 <input_version_5.1.0.xml>

 

If you have questions that are not covered in this article, feel free to ask them via the forum .