Model output is 8-bit. A finishing suite will not take it.
Cutting Room is where a generated take becomes deliverable. Colour-managed review, then a 10-bit mezzanine and an OTIO package the edit suite can actually conform.
8-bit mp4what the model returns
OCIO · ACESlinearised into a known space
ASC CDL + LUTgraded per clip, with scopes
ProRes 422 HQ · DNxHR HQX10-bit mezzanine
OTIO + .cdltimeline and grade sidecars
Picture and sound, togetherMultiple video and audio tracks, readable filmstrips, exact rates, and clip-aware playback.
Colour you can reason aboutPer-clip ASC CDL, waveform scopes, and 3D LUT looks, all seen through an OCIO/ACES viewer. The maths runs in float, and every colour decision is a number you set and can check on a scope.
A handoff, not a dead endExport OTIO with the media, a revision manifest, and per-clip .cdl sidecars. Conformed and checked on Resolve 21.
SDR to HDRAn HDR extension converts an SDR take for HDR delivery, verified as part of the on-demand render setup.
The low pursuit camera and the world under the ice were decided as intent before the run, not written as a prompt. What comes after the render is ours too: the take you select, the cut, the grade, and a master the finishing suite accepts.
World transformationDeclared camera and actionDesigned, not prompted
The World Beneath the Ice
A machine-integrated skater carves across black ice as a low pursuit camera catches a hidden digital world in the reflection beneath her blades.
The first shot can be luck. Production starts at the second one, and everything that makes the second one possible has to be in place before it exists.
