[Jonathon Lee]

The Ezio is good for wide gamut and it also coves a limited range of rec2020. It is also not an HDR display. What most folks will be working with as far as HDR goes will be wither based on PQ tone mapping of some sort HDR10 or Dolby Vision or the non-PQ HLG. Having the PQ EOTF in an HDR display is absolutely essential. “Most” of the studios are going with PQ based HDR formats.

[Jonathon Lee]

Hey Elliot,

For doing an HDR grade pass the only, actually available option, is the Sony BVM-X300 (not to be confused with the PVM-X300). This display will go up to 1000nits and supports ST 2084. SMPTE 2084-PQ covers up to 10000nits, which no current, commercially available display can emit. There is the Dolby Pulsar that can go up to 4000nits, however, those are not available through normal channels.

With regard to gamut the BVM-X300 has a BT.2020 (rec2020) “compatibility mode” and will display a percentage of BT.2020. No commercially available wide gamut displays can show 100% of the range.

The gamut and light level limitations are technology related. Eventually we will get there, but the manufacturers will need some time to catch up. For HDR10, short of the Sony X300, the highest-end of the Sony consumer displays will get you the closest at this time… check out the Z9D 75″.

With regard to Dolby Vision vs HDR 10… Dolby Vision is a great technology, however, grading for it involves some very specific equipment. You’ll need a grading app that supports Dolby Vision — Resolve is one of them, A Dolby CMU and a “supported” mastering display. Sony BVM-X300, Dolby Maui or Dolby Pulsar. Different displays will allow you to visualize at different light levels.

HDR 10 is simpler to work with, although, there is less control of the user experience and less display-side optimization.

Then there is Hyper Log Gamma (HLG) which you will see used in live sporting events. This is another can of worms and I won’t get into that now.

Hope this helps.

– Jonathon

[Jonathon Lee]

Thank you David. Proxies it is.

Best,

Jonathon

[Jonathon Lee]

Just tumble weeds? Can someone from BMD chime in please?

[Jonathon Lee]

Thanks for responding Jake!

That would be unfortunate if they do not fix this soon. I really need Resolve to be able to do this properly again.

Best,

Jonathon

[Jonathon Lee]

Just confirmed that it is NOT specifically related to 8-channels or greater. It crashed with auto-sync append with a PRHQ with 2-channels + 3-channels from the sound devices recorder. If I use auto-sync NO APPEND it works.

[Jonathon Lee]

Yes, I muddied the waters here. I didn’t emphasize my primary question. Apologies for my lack of clarity. My real problem is that I would like to have a bunch of shots that were made with time-of-day TC to automatically be conformed on a timeline at their respective time codes. This can be done manually by spotting each shot to it’s start time code.

I could probably do this out side of resolve by:

– loading up the clips in an NLE
– make a batch capture list of the clips
– convert into an EDL and copy/paste the in/out points’ columns to the “record” in/out
– import EDL and link in resolve

but, wanting to avoid this manual process and just have Resolve auto-magically do this. I think I was able to do this in Scratch many moons ago, but it’s been awhile.

Ultimately, I’m trying to find a way to speed up the grouping and syncing of multi-cam dallies that use dual-system sound. The math is simple, just perhaps not really needed or wanted by anyone but me 🙁

Thank you for the responses. Hopefully someone knows the trick.

– Jonathon

[Jonathon Lee]

I’ve encountered this problem as well.

[Jonathon Lee]

I’m running 9 of the new Mac Can’s. The 12-core dual D700 systems with 64GB RAM on a fast Stornext SAN seem to be able to decode 4K Red footage @ full/premium 10-bit realtime 23.976. I was quite surprised to see this. No Red Rocket.

– Jonathon

[Jonathon Lee]

Hey John,

The network rendering is going to be a no-go over a given number of frames per second. I’ve had bad luck network rendering via TCP/IP. If you really need to do the render over ethernet then you’ll need to do it with iSCSI. On a mac the only thing you can use as a DIY-rig is Studio Network Solutions iSCSI target and use an iSCSI initiator. SNS has an initiator as well as Atto. I’ve only used the Atto. SNS makes the target host software. Not too expensive, cheaper then fibre channel which is what you should probably be using. You’ll get much better performance with 4gig FC then you likely will with 10gbe, however, a FC SAN is an undertaking.

In the interim you should experiment with throttling down the render speed… don’t go max render performance in Resolve. If you are chugging out a lot of FPS then likely there’s some packet loss or rejection. Ethernet is made to be resilient first, performance is second. Using iSCSI will give you a more reliable connection to the storage for what you are trying to do.

– Jonathon