DaCaPo

Colour Management

Choose Source Gamma and Colour Space

When importing video into DaCaPo, the Source Gamma and Source Colour Space settings describe how the source image was mastered.

DaCaPo uses these settings when converting the source picture for Digital Cinema. Choosing values that do not match the source may produce a DCP that appears too dark, too bright, desaturated, or incorrectly coloured.

What you’ll learn

  • What Source Gamma tells DaCaPo.
  • What Source Colour Space tells DaCaPo.
  • How to choose between gamma 2.2, 2.4, and 2.6.
  • How to choose between Rec.709, P3-D65, and P3-DCI.
  • Why the settings describe the source, not the DCP output.
  • How to avoid common colour-management mistakes.
Important: Use the grading, mastering, or export documentation for the source whenever possible. A filename or codec alone does not reliably identify the source gamma or colour space.
DaCaPo Import Video window showing Source Gamma and Source Colour Space settings
Source Gamma and Source Colour Space are selected in the Import Video window.

What these settings mean

The source settings tell DaCaPo how to interpret the incoming image before conversion.

They do not define the final DCP colour format. The DCP conversion is handled by DaCaPo. Your task is to describe the source accurately.

Remember: Select what the source already is, not what you want the destination to become.

Choose Source Gamma

DaCaPo provides three Source Gamma options: 2.2, 2.4, and 2.6.

DaCaPo Source Gamma menu showing 2.2, 2.4, and 2.6
Choose the gamma value that matches the source master.

Gamma 2.2

Choose 2.2 when the source was specifically mastered or exported using gamma 2.2.

This may apply to material prepared for general computer-display viewing, graphics workflows, or exports whose documentation explicitly identifies gamma 2.2.

Gamma 2.4

Choose 2.4 when the source was mastered or exported using gamma 2.4.

This is common for professional Rec.709 video mastering, but it should still be confirmed from the source workflow rather than assumed.

Gamma 2.6

Choose 2.6 when the source was specifically mastered using gamma 2.6, such as a cinema-oriented source workflow.

Do not choose 2.6 only because the destination is a DCP. The setting must match the source image.

Choose Source Colour Space

DaCaPo provides three Source Colour Space options: Rec.709, P3-D65, and P3-DCI.

DaCaPo Source Colour Space menu showing Rec.709, P3-D65, and P3-DCI
Choose the colour space used by the source master.

Rec.709

Choose Rec.709 when the source was graded or exported in Rec.709.

This is common for HD and UHD video masters, broadcast deliverables, streaming deliverables, and many ProRes or H.264/H.265 exports. However, the codec or container does not guarantee Rec.709.

P3-D65

Choose P3-D65 when the source was mastered in a P3 colour space using a D65 white point.

This may be used in wide-gamut display and mastering workflows. Check the source documentation because P3-D65 and P3-DCI are not interchangeable.

P3-DCI

Choose P3-DCI when the source was specifically mastered in the P3-DCI colour space.

Do not select P3-DCI simply because you are creating a DCP. If the source is Rec.709, choose Rec.709 and allow DaCaPo to perform the conversion.

Typical examples

The examples below are starting points only. Always prefer the documented mastering or export settings for the actual file.

Source description Likely gamma Likely colour space
Professionally mastered Rec.709 video 2.4 Rec.709
Computer-display or graphics export documented as gamma 2.2 2.2 Usually Rec.709, if documented
P3 master with D65 white point Use the documented value P3-D65
Cinema-oriented master documented as P3-DCI and gamma 2.6 2.6 P3-DCI

How to confirm the source settings

Check the following, in this order:

  1. The grading or mastering notes supplied with the source.
  2. The export settings used in the source application.
  3. Information from the colourist, editor, or post-production facility.
  4. Reliable metadata or sidecar documentation supplied with the file.

Avoid relying only on the filename, codec, or file extension. A MOV or ProRes file can contain material prepared in different colour spaces and transfer characteristics.

Review the preview

After choosing Source Gamma and Source Colour Space, inspect several representative frames in the Import Video preview.

Look for:

  • Unexpectedly dark or bright midtones.
  • Washed-out or overly saturated colours.
  • Incorrect skin tones.
  • Unexpected colour shifts in neutral greys or whites.
DaCaPo Import Video preview used to review gamma and colour-space interpretation
Inspect representative frames after selecting the source settings.
Note: The preview is a useful check, but it does not replace knowing how the source was mastered or performing proper quality control on the exported DCP.

Common mistakes

Choosing P3 because the destination is a DCP

The source colour-space setting describes the incoming file. A Rec.709 source should be identified as Rec.709 even when the final destination is Digital Cinema.

Choosing gamma 2.6 because cinema uses a dark viewing environment

Source Gamma must match the source master. Do not use 2.6 unless the source was actually mastered that way.

Assuming every ProRes file is Rec.709

ProRes is a codec, not a colour space. Confirm how the file was graded and exported.

Judging the result only from an uncalibrated display

A computer display may not provide an accurate reference. Use known source documentation and verify the resulting DCP as part of the delivery workflow.

Related guides

  • Create a DCP from a Video File
  • Create a DCP from an Image Sequence
  • Choose a DCP Resolution and Aspect Ratio
  • Choose a JPEG2000 Bitrate
  • Why Does My DCP Look Too Dark?

Manual reference: Project Panel – Media tab; Importing Media; Import Video.

Reviewed against: DaCaPo User Manual 0.9.2, July 2026.