I have some questions about the color grade of your disk.
BTW what spectroradiometer/colorimeter combo you used to calibrate and verify that all the monitors used were properly calibrated?
Using RED Cine-X, the Red RAW footage converted to openEXR footage in RWG/Linear, so you import them to Resolve where you did the master grade @ 4000 nits with Dolby Pulsar Monitor configured @ 4000 nits.
Did you used Resolve Color management configured into Davinci YRGB? or into YRGB color managed? or into ACEScct? or into ACEScc ?
Did you used Resolve 14.x or 15.x?
Have you configured Resolve to "Use dual output on SDI"? ... in that case did you used the Dolby PRM-4220 configured for REC.709 100 nits to control the SDR trim pass?
...or did you use external CMU to be able to output the secondary SDR monitor for control purpose?
Did you used Resolve also to grade into 10000 nits from 4000 nits master? ...or you used Transcoder to re-map to 10000 nits from 4000 nits ? or other process?
How have you controlled the 10000 nits grade? It was an extrapolation at the end of the workflow from 4000 nits color grade?
Have you export the master grade into 4000 or 10000 nits or both of them from Resolve or from other software?
After the colorist from Dolby did the primary grade @ 4000 nits REC.2020 PQ ST.2084, what did you used as "softCMU" to calculate de Dolby Vision Metadata?
Did you used a dual monitor configuration to control SDR version from the HDR master? ...the first HDR monitor at 4000 nits (Dolby Pulsar) and the second SDR monitor at 100 nits (Dolby PRM-4220)?
How about the other HDR grades; @ 2000 - 1000 - 600 nits; have you used different dual HDR monitor configuration?
For example, did you used Sony BVM-X300 to control the 1000 nits version and the Dolby PRM-32FHD to control the 2000 nits version and of course the Dolby PRM-4220 to control the 600 nits version?
...or you used the metadata calculation from the 100 nits version secondary trim control?
The Dolby Vision iCMU/eCMU 2.9 (if its been used internal or external CMU, it provides the same end results but need a retouch) calculated the 2000/1000/600/100 trim pass from 4000 nits or from 10000 nits sequences?
For SDR 100 nits REC.709 trim, the colorist used the 5 available trim controls (as the 6th control in CMU 2.9 is disabled for SDR trim) to adjust the picture trying to match the creative intent of the 4000 nits primary grade from Dolby Pulsar.
Finally, from the Dolby Vision IMF or from TIFF or EXR and XML metadata, its been exported the SDR 709 100 nits version encoded as ''20012.M2TS'' to the disk, correct? from Transkoder?
(It looks like you have explained that it was done with Transcoder from master version graded into 4000 nits or into 10000 nits.)
I can understand the whole process is much more complex just I wanted to find out more details ....about the SDR grade I'm interested also. (20012.M2TS file)
For the Dolby Vision 4.0 version of the Montage, you plan to re-do the source material to ensure that Resolve will not clip?
Do you think there is some advantage to work with ACES colorspace?
1. Export RWG / Log3G10 from RCX as OpenEXR no compression 16-bit ACES-ST2065-1.
2. Use ACES ST2065-1 as IDT into ACEScct workflows and Rec2020 ST2084 as ODT and internalCMU configured at 4000 REC.2020 D65 ST.2084 as mastering display.
or with ACES also but with Resolve configured in YRGB and using Paul's Dore DCTL and OFX plug-in to be able to manipulate ACES IDT and ODT math: https://github.com/baldavenger
3. Using Resolve configured as "Use dual output on SDI" with Dolby Pulsar as primary HDR monitor @ 4000 nits and Dolby PRM-4220 @ 600 and @ 100 nits.
4. Using Resolve configured as "Use dual output on SDI" with Dolby Pulsar as primary HDR monitor @ 4000 or 2000 nits and Dolby PRM-4220 @ 600 and @100 nits and or Sony BVM-X300.
5. Use Resolve 16 for the new grade with Dolby's CMU 4.0 trim passes. (should be a nice improvement over current version)
6. Use your de-convolution (possibly the new version which Shaindow developed) doing versioning from 8K to 4K or 2160p.
7. Use Transkoder to create some of the other versions again... using it with AJA card with Dolby Vision HDMI Tunneling to QC with LG C9 OLED over HDMI Tunneling...
8. Use Dolby Encoding engine to encode to Dolby Vision Profile 7 to control the Sony's Pixelogic encoding.
9. Use the latest x265 to encode in HDR10+ to control the Transkoder encoding.
10. If its possible to include to the next release a USB Stick with the Montage version in MP4 Dolby Vision Profile 5 (as Netflix use Profile 5 also), encoded using ICtCp completely.