Axel

My Mac does, but it uses Quicksync - and so does Resolve, obviously. It's a matter of configuration-optimization or so, I guess. I wouldn't worry. If you didn't already, use the one-month trial period of Kyno. The idea is that you browse your card, preview the clips, set in- and out-points, subclip them with "s", rename them, whatever, and afterwards batch-convert them to ProRes, which happens way faster than with Resolve. Kyno doesn't "import" anything. Yes, this does eat more disk space (depending on your shooting ratio of course), but you have your footage organized. I don't know for sure, but I think this will also be the perfect solution for the 10-bit clips which the free Resolve doesn't accept, for what reason ever ...

Sure it's not a fridge? :P

If I recall correctly, it's a broad enough color space for 1080p, whereas 609 was okay for 640i, 2020 being appropriate for 2160p and above (afaik it also includes at least 10bit, HFR and HDR). How do you say "709". Seven hundred and nine? Or seven o nine? Then for my foreigners' ears it almost sounds like someone from the very distant future:

Because english is not my native language, I couldn't tell. I do hear a difference between, say, Alex Jones and John Oliver.
This thread turned out to be an HDR seminar. I think that those who followed it have a deeper understanding and a better overview by now. jonpais, will you report on your Atomos experiences? You could write, edit and sell your own E-book about HDR. And hurry, before Wolfcrow changes his mind about the topic and does just that!
This kind of answers my repeated questions how 709 video would look on an HDR TV: more or less the same as on an SDR TVs, probably with better blacks. With the resolution race, new standards had to be sold by proving how poor the lower resolution looked in comparison. For early adopters (consumers or producers) HDR stands out without such direct comparison. But the day may come when some couch potato says, why do they still broadcast all this dull SDR stuff ?!!??
You can't, of course, make your own stuff futureproof with technique, but only with content. 
According to Stephen Hawking, he isn't. He will either freeze to death, drown or will be eaten by CGI wolves on a boat in the streets of Manhattan. Raising the brightness (and power consumption) of TVs won't prevent that. 

Monitoring is one nightmare, recording the other. Van Hurkman does say that HDR was no excuse for buying a new camera, as long as it could record LOG, but this is probably true if you have an Alexa, an Epic or at least an Ursa sitting on your shelf.
It seems as if stretching 8-bit LOG (at least that without HLG-mode) to 2020 values will result in banding and posterisation (by which I mean colors in the upper midtones are noticeably thin).
Pocket ProRes (which is 10-bit 422 with up to 13 stops DR) looked better than RAW (too many artifacts). As of yesterday, there is another option of 4k 10-bit with good DR available: the Micro Studio 4k got a firmware update and now allegedly holds 13 stops as well. My buddy has three of those for live events, and he has the Shogun. Have to give it a try. 
The upcoming Sony A7Riii features HLG in 8-bit. How well this is going to work remains to be seen. As a matter of fact, those Sony hybrids have very good DR, the current models as well. Wouldn't it be technically possible to add an HLG profile via FW update? 
;-)

Well said. 
I'll follow this wise advice then, thanks for joining the discussion.

Well said. 
I'll follow this wise advice then, thanks for joining the discussion.

@jonpais
regarding Wolfcrow. He doesn’t seem to have fully understood HDR. I like the phrase ‘old wine in a new bottle’ though. Because you can judge wine by it’s vol% of alcohol (~ resolution) OR by more complex parameters. If one day we’ll record the same scene with a contemporary DSLR and with a camera fully covering all rec2020 requirements, we will agree to new wine in new bottles.
@Vesku
A deeper black actually doesn‘t help to distinguish more shadow nuances, for that you‘d need brighter dark greys and MUCH brighter highlights. On the recording side, you have to avoid true black anyway because right above a hypothetical ‘no signal’ stretches a zone of BAD signals, which you usually don’t record (ETTR).
@Kisaha
Yes, it’s not affordable for me. Mapping any rec709 or 8-bit LOG video to 2020 shows the limits in the waveform already. And even though I have no HDR monitor yet, I do see how little dynamic then remains for the midtones. The closest are some old raw recordings from my Pocket (12-bit), but also all artifacts (moire, color fringing) are accentuated.

That’s reasonable. There are more reports about strange behaviour than usual. The main reason to upgrade would be H.265 support. I will wait for the next update with bugfixes and then check on fcp.co if they are fixed indeed (because my main concern is video with FCP). No one is forced to hurry.
As for special software, it’s best to check on ML forum.

An "impossible" shot. Often meant to impress the audience. There is a danger in that, insofar as you (as one of my film school teachers eloquently put it) feel the presence of the author. That's inavoidable, it can be a bad thing, but not always. 
If you want the audience to experience the experience of an OOBE, your modus operandi needs to be established first. If you wanted to just make them understand, oh, this is meant to be an OOBE, a sequence of crude tricks will do (showing the person flying to the sky could be seen as crude, no matter how realistic, surrealistic or hyperrealistic it's done. Unless it's a dream). But for immersion? In 2017? 
Did you see Enter The Void? The hero smokes DMT and has visions. Everything is his POV. Then he is shot dead. He sees his dead body, and from then on the camera can (and does) move freely. The film isn't easy to watch for many, but for those who can, it's very immersive. 
Sounds reasonable. The cut through the roof is difficult/dangerous. 
For something to feel continous, it often needs to be interrupted. You didn't say what kind of OOBE you want to show. People who were once clinically dead report strict POV. They can see themselves lying on the hospital bed, they see mundane details of the room, a pretty sober affair, even though they float in mid-air, which obviously is being spontaneously accepted (or imagined?) as the normal way a disembodied mind/soul behaves. Elisabeth Kübler-Ross has interviewed hundreds of them. They came back, so of course they were not really dead.
Then there is the whole complex of OOBE through drugs, meditation, lucid dreams asf. Carlos Castanedas The Teachings Of Don Juan also implies POV.
Everybody occasionally dreams that he/she can fly. Does this count as OOBE? I don't know. What I do know though is that these dreams are never strictly POV, no dream is. My own experience is that you think, this must be a dream, I can't fly! As if to prove you wrong, the dream shows you above he fields and houses. You don't want the dream to stop, because it's such a good feeling (you can imagine what Freud said about hose dreams). The immersion then would be triggered by empathy more than by FX. How the actor radiates ecstasy or so.

@markr041
I personally thank you for pioneering. I can't monitor HDR right now, but it's good to know about the intricacies beforehand. You took the effort and tested it, that's awesome!
@maxotics
Very interesting read. I absorp every word and read your posts several times in order not to miss something.
@jonpais
You always find the right words and explain very well. What I like most about your postings are your excellent videos that show your good taste and commitment to beauty.
I am glad I started this thread. Invaluable information, great forum. Thumbs up for all.

@markr041
I personally thank you for pioneering. I can't monitor HDR right now, but it's good to know about the intricacies beforehand. You took the effort and tested it, that's awesome!
@maxotics
Very interesting read. I absorp every word and read your posts several times in order not to miss something.
@jonpais
You always find the right words and explain very well. What I like most about your postings are your excellent videos that show your good taste and commitment to beauty.
I am glad I started this thread. Invaluable information, great forum. Thumbs up for all.

Slowly but surely HDR is noticed by the content consumers. I was in a shopping mall two weeks ago and they had a gigantic HDR-TV, surrounded by SDR-sets with the same video playing: partly nightsky timelapses (the skies on the other screens appeared grey, the stars faded), partly landscapes with sun (looking like flat LOG clips on the SDR-TVs). The audience very clearly saw the difference. As Yedlin had *proven* in his resolution-myths-debunked video, they couldn't have told the difference between HD and UHD.
But there is no standard agreed upon, as I understood.
How will an 8-bit rec_709 video, no matter the resolution, look on a 3000 nits screen? 
Will today's solutions ("HDR ready") be considered foul compromises very soon (like the early HDV cameras that were little else than "SD plus" if you see the images with today's eyes)?
Or will the said foul compromises be accepted as just enough to make a visible difference, become standard for a long time and allow - for instance - 8-bit 420 to survive another decade?
I'd really like to know.

Yes, I see that exactly that way. I don't say it's bad storytelling or awkward or pointless, on the contrary. But if you try and count the minutes (or screenplay pages) this "film in film" takes and make it fit to any of the narrational structures that modern script gurus teach ...
There is a similar, er, secondary storyline in the third season of Six Feet Under. I thought by myself, when will this bullshit stop? When is this going to make sense again? And only later, much later, did I realize, wow, this is what's happening to everybody all the time! Is it because you lose track, become a stranger to yourself? Or has there never been a track, a goal, a personal destiny in the first place? One of both answers is wrong, a lie, sometimes a life-long lie. And both questions are equally disturbing. 
On the three act dogma: apparently, a story doesn't need an end. Happily ever after seems to be a formal way to end a story, but isn't it really anything else but who cares? 

Only lately I was tempted to buy the GH5 (after I had sold my Pocket), but decided to give the A6500 a try. Reluctantly, because ...
> I had seen the awful menu of the A7S and A7rii
The menu is a mess. Fortunately, you have the FN-button and can dial M1-M4 for quick access and your preferred shooting modes. 
> I'd never liked the Sony "color science"
There is S-Log2. Within the last 2 months, I learned to expose it properly and (almost, with the help of the histogram) intuitively for every situation except night shots, where Cine1 seems to work better. The DR preserved within S-Log2 is very good, the GH5, 10-bit or not, has less. The colors? I tried a few things and found the Omeneo primers (20 bucks) to be to my taste. Not much headroom left for extreme grading, but I'm not good at that anyway.
> I was sceptic about the usability of AF
Yes, I always focused manually. I still do, with very shallow DoF or in dark, low contrast places. But for most situations, the AFC is better than me. Fast, spot-on, reliable, no hunting.
> I did not like any of the lowlight demos
... but nobody forces me to shoot like this. What's wrong with being able to shoot at ISO 6400 without needing Neat? 
> I heard terrible things about the rolling shutter
I found this to be true. The solution to this is IBIS. Problem solved.

Only lately I was tempted to buy the GH5 (after I had sold my Pocket), but decided to give the A6500 a try. Reluctantly, because ...
> I had seen the awful menu of the A7S and A7rii
The menu is a mess. Fortunately, you have the FN-button and can dial M1-M4 for quick access and your preferred shooting modes. 
> I'd never liked the Sony "color science"
There is S-Log2. Within the last 2 months, I learned to expose it properly and (almost, with the help of the histogram) intuitively for every situation except night shots, where Cine1 seems to work better. The DR preserved within S-Log2 is very good, the GH5, 10-bit or not, has less. The colors? I tried a few things and found the Omeneo primers (20 bucks) to be to my taste. Not much headroom left for extreme grading, but I'm not good at that anyway.
> I was sceptic about the usability of AF
Yes, I always focused manually. I still do, with very shallow DoF or in dark, low contrast places. But for most situations, the AFC is better than me. Fast, spot-on, reliable, no hunting.
> I did not like any of the lowlight demos
... but nobody forces me to shoot like this. What's wrong with being able to shoot at ISO 6400 without needing Neat? 
> I heard terrible things about the rolling shutter
I found this to be true. The solution to this is IBIS. Problem solved.

Dramatic, expressionistic lighting, absolute depth of field, almost black & white. Our physiologic night vision (scotopic vision) shares some of these characteristics, but not all. Although our irises are wide open, we won't see things out of focus, because the rod cells are not concentrated in the fovea but instead spread over the whole retina (like here). But we would see light sources in full color, it's like "Lum Vs Sat" in Resolve. Nice, I prefer this over he modern "Night for Day" - approach that modern sensors and their lowlight-capabilities provide. Thanks for sharing.

All of these were shot in Standard. The criterion was reproduction of what was seen. Obviously, that is not the aim of video or film, but if the starting point is off, it is more difficult to achieve a look one wants that deliberately distorts reality for a purpose.

People miss one thing here: the dawning of HDR. 
They say the display is capable of HDR (whatever that means). HDR metadata can be embedded in HEVC (check). New Apple TV advertizes "4k HDR now! (check). 2017 iMacs deliver 800 nits (check). High Sierra will use HEVC as the new standard compressor (check). 
As I understood, right now there is no real standard for HDR. Apple may have made the decision.

People miss one thing here: the dawning of HDR. 
They say the display is capable of HDR (whatever that means). HDR metadata can be embedded in HEVC (check). New Apple TV advertizes "4k HDR now! (check). 2017 iMacs deliver 800 nits (check). High Sierra will use HEVC as the new standard compressor (check). 
As I understood, right now there is no real standard for HDR. Apple may have made the decision.

People miss one thing here: the dawning of HDR. 
They say the display is capable of HDR (whatever that means). HDR metadata can be embedded in HEVC (check). New Apple TV advertizes "4k HDR now! (check). 2017 iMacs deliver 800 nits (check). High Sierra will use HEVC as the new standard compressor (check). 
As I understood, right now there is no real standard for HDR. Apple may have made the decision.

Thanks for sharing. I've only just read the headlines/titles, and I'm already inspired.
Think I saw that on Netflix. Will check it.
Your exposé has interesting implications. Dreams, uncontrollable impulses, privacy vs. society. Looks high-budget though. 

If that's the case, it's a misconception. Buying a speedbooster can be a rational decision. It allows you to buy better glass for less money. It allows you to capture comparatively more light without smaller DoF. Think about it.
People reliably choose the image with shallower depth of field. Not necessarily because the bokeh is nice, but because the selective focus clearly signals that the shot has had an intention. If you follow this path, you never needed to care about set design, framing and all the other arts. Just buy a full frame camera and a 0.95 lens and blur everything!

This will be very profitable for BM. I don't know if it was very wise to cripple the performance of the free version (no Quicksync supported there), but I guess many will start to see the advantages. 300 bucks (once and for all, no subscription, no dongle) is a price point that won't scare off many. If they continue to improve everything and add features with the same energy they showed in the last years, it will mean hard times for he competitors.

Didn't read every posting in this thread, so maybe this was already covered. I mean the part about EditReady. There is a much more powerful tool that does a lot more. It's called Kyno. A beta version for Windows (free) is announced. Didn't look too spectacular to me initially, but now I've bought it, and I think it's fantastic. Plays all* media (you can filter by video, audio and stills), dives trough folder structures (called drilldown-mode), allows to import, trim (> subclip), batch-rename, tag (Premiere: mark), transcode, wrap and copy directly from card. Allows to send data bases to FCP (shift cmd f) and Premiere (shift cmd p). 
*well, no raw video for now, they're working on it.

I use FCP X, where tripod mode is available as an option in Inertiacam, but only after the analysis has found little camera movement like pans and tilts. In Resolve 14 it's in >Color >Tracker >Stabilizer >Camera Lock. Does not decide four you if there is too much camera movement, so very shaky shots will turn to RS-like jelly. Other than that (monopod or gimbal used) it will be indistinguishable from a tripod shot.