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

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.

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?

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?

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)?

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

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

Can’t wait to hear about your experiences!

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).