Syncing Resolve’s LUT Folder Between Machines & Viewing HDR & SDR Simultaneously

October 26, 2016

A member asks how they can easily sync Resolve's LUT folder between suites. Plus, the pros/cons of viewing HDR & SDR simultaneously.

Episode 32: From The Mailbag

Talking about LUTs and Color Grading in the HDR Workflow

A MailBag Episode!

Yes, it’s been quite some time since we’ve released a MailBag Episode – not because we didn’t have the content – but because the summer was just super busy for Team MixingLight and it was darn near impossible to get all three of us on the same schedule!

This past week we sat down and were able to clear out the queue of member questions that are perfect for future MailBag Episodes.  So, keep an eye out for many more MailBag installments in the coming weeks.

Remember, if you have questions that you’d like to get an opinion on please use the contact form.

Your questions can be aesthetic, technical or even client related. We’d love to hear from you, and your question might make future episodes of From The MailBag.

In this MailBag episode, we take a look at a question about how to keep custom LUTs (or ones that you create) in sync in a larger facility as well as continue a conversation that Robbie & Pat started in an Insight thread about viewing HDR & SDR content at the same time, in the same room.

Part 1: Syncing Custom LUTs

First up we explore a question from an anonymous MixingLight member who asks:

‘I’m running several rooms of color now and we have a shared database that can be accessed from any room, but we are finding the workflow breaks when it comes to custom LUTs. Do you know of workflows to sync the LUTs between multiple rooms?’

Great question! Yep, this has happened to Robbie & Dan in their facilities quite a bit.

It sucks, for example, when a show has been graded in one room but then is going to be rendered in another and that second room doesn’t have the same LUTs installed – and no one notices, and the show gets rendered all screwed up!

Fortunately, there is a great little application to handle this situation. A while back Robbie wrote an Insight on using Bit Torrent Sync for syncing media from his work machine to his home machine.

Bit Torrent Sync was renamed to Sync, and now it has yet another new name Resilio  – new name, same great app.

In Part 1 we discuss how Resilio (Sync) can be used to keep a Resolve LUT folder in sync between rooms, and we also discuss a few particulars about refreshing Resolve’s LUT folder.

Part 2: Viewing HDR & SDR In The Same Room

In Part two, Robbie & Pat needed to finish a discussion (errr argument) started in a very cool Insight that Patrick did on using the new stereo tools in Resolve 12.5.1 and later to facilitate HDR/SDR workflows.

At the center of this discussion is having an HDR monitor & SDR monitor in the same room and if this is a good thing or a bad thing or even the right thing to do when you have to deliver HDR & SDR!

So in this segment, Pat & Robbie each explain their points of view, and Dan plays moderator while adding some great thoughts to the discussion too!

As always, enjoy the MailBag and please use the comments below if you have more to add to the conversation or have other questions. 

-Team Mixing Light

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Homepage Forums Syncing Resolve’s LUT Folder Between Machines & Viewing HDR & SDR Simultaneously

  • R.NeilHaugen

    You three ever thought of doing a comedy routine? 😉

    Seriously, the way you inter-relate is fun … which is well, fun … but also very informative. Very.

  • Patrick Inhofer

    Glad you enjoyed it! And yes, we do a routine every year at NAB! It’s part of the Post | Production Conference 🙂

  • What are your thoughts on the new LG OLED HDR tvs could you use the split screen feature of them to display an hdr and sdr signal on the same screen?

  • RobbieCarman

    LOVE the new LG OLEDs. I have a couple B6s at the office and an E6 at home. I’m pretty sure you can only use split screen with SDR only. But I can check. My other concern would be the ABL of the monitor – not sure how it’d react with a split screen source.

  • I bought b6 and it only supports split screen with hdmi and analog signals not hdmi and hdmi. The e6 may work since it supports 3d. Robbie can you do an insight on calibrating the b6/e6 for hdr maybe with some free software like HCFR or displaycal?

  • Willian Aleman

    I agree, it’s indeed a great topic. Since it has been a year of this insight publication, and the Davinci Resolve 14 upgrade is out, it would be interesting to know if there is any difference in terms of the workflow and hardware configuration around simultaneously working in SDR and HDR.

    Also, has Robbie and Patrick difference perspectives changed regarding working simultaneously in the same room with two displays (SDR & HDR)?

  • Robbie Carman

    Well my opinion on the SDR/HDR two display thing is pretty much the same. In a Dolby Vision (Same is true with HDR10+ ) workflow its a necessity because you’re doing a trim pass essentially translating the grade from HDR to SDR. In non-active metadata workflows like HDR10 I still think its important to at least check on an SDR display for clipping issues (not a whole lot you can do but still worth the check)

    On the Resolve side in an RCM workflow (which is what I most often use for HDR work) the new gamut mapping tools are great for shaping a grade from P3 or 2020 to Rec 709 (this is also available in the color transform OFX)

    A year later the displays are also so much better. 1000-2000 NIT LCDs and 750-800 NIT OLEDs are more affordable than ever

  • Willian Aleman

    Robbie, thanks for your prompt response on the subject.

    Although, the luminance differences between SDR and HDR can be huge, these differences might not be as drastic as the theater projection, reference monitor, TV, and home room environment all together. This makes me want to advocate more with your workflow.

    In a relative situation, it’s very well known that lots of films have been mastered in Rec.709 first and converted to DCI-P3 as an alternative to the lack of having a proper theater screen projection. It seems to be that the dilemma between grading in SDR and HDR in the same room is presenting more compatibility than grading material for theatrical release (Rec.709 vs DCI-P3).

    In October I’m going to be working in short film to be shot with Panasonic Vericam 35, monitoring in HDR on-set. I’m going to report back here about my first time experience with HDR on-set

  • Robbie Carman

    Can’t wait to hear about your experiences!

  • Willian Aleman

    Thanks Robbie for your always prompt response.

    An update: DR14 supports now HDR – Hybrid Log-Gamma curve (HLG).
    Also, the Blackmagic UltraStudio 4K supports the stereo workflow. This feature is not exclusively to the Decklink and Thunderbolt “Extreme” I/O versions only.
    DR14 support the video scopes with a scale based on “nit” values (cd/m2).

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