At my main clients production company they are going to perhaps move my online bay to a bigger room. We are doing more 4K shows in the future and I'm thinking it's probably a good time to suggest adding a DNxIO to our Avid Symphony NitrisDX setup. I know in the past there were/are issues with digital cuts using BlackMagic IO. There is an edit timing issue where the edit begins with a frame of black as the sequence timeline rolls one frame late. To the best of my knowledge that has never been fixed but I don't have a setup to test it with now. Obviously for 4K work tape output is a moot point as far as I can see but given we will still be producing HD content that might involve some tape deliverables I'm wondering where the DNxIO stands on the digital cut problem. Has Avid fixed it with their own special Video Desktop software that differs from the Black Magic generic version, or so I've read about?
Besides tape out in HD I'm wondering what are people using for 4K monitoring? The gold standard for the emerging HDR world seems to be the Sony BVM OLED monitor. I am very happy with my PVM 2541 OLED for HD work and given Netflix work is speced to BT.709 for 4K delivery it would seem using the PVM on an HD downconvert would be a reasonably accurate way to monitor and color correct but short of the 30K Sony BVM what are some decent looking grading monitor? I see HDMI 1.4 will handle UHD at 8 bit but that's a bit limiting for color correction isn't it? Are most people running Quad Link HD SDI to the grading monitor? The few 4K projects I've pushed through our SNDX were shot at True 4K, short for pain in the ass 4K, at 4096x2160. To monitor that on my HD monitor I set it to letter box slightly to keep correct aspect ration. If we get a real 4K grading monitor fed with Quad Link HDSDI I would assume it's going to be UHD 16:9 aspect ratio so would the Avid also send it a letter box version for True HD content just like I see in the HD output of my NitrsDX?
My brain really begins to hurt with all the little gotcha along the way and my gut says to just keep working in an HD downconvert scenario where my tektronix scope works as does my existing monitoring but I really think it's time to push forward into the 4K world in a proper manner. I could see getting a decent 4K program monitor and still scoping on an HD downconvert as a possible compromise but I just feel dirty doing things that way.
Perhaps it's time to suggest at work they opt for a trash can mac as the 12 core 3.33 GHz mac towers may start to show their age especially when doing 4K in Avid world. I hate to go in the thunderbolt2 connection world but the whole place is mac based so I don't know of another way to stay mac and get improved Avid 4K performance. Can anyone compare an Avid 4K workflow with the mac tower 12 core I mentioned to a reasonable level mac trash can? Would the performance improvement merit jumping into a trash can? I doubt they want to spend the bucks but I figure I should try and get some reasonable background for them.
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net
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Posted by: John Moore <bigfish@pacbell.net>
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this is the Avid-L2
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