You may not even be ready to jump to 4K yet (and plenty of the world isn't), but higher than 4K resolutions are already here.We've got already shooting plenty of stuff, and ARRI's new just around the corner, but the next great leap is 8K. Has been experimenting with 8K for quite some time, as has IMAX, but how exactly can post-production deal with the incredible requirements of an 8K finishing workflow right now?, who makes some seriously high-end finishing and color correction software/hardware — used on feature films with crazy resolution requirements, like — has just unveiled a system that can deal with realtime 8K 60fps footage. Here are more details on with the updated Pablo Rio system, which will be coming out in early 2015:. Realtime 8K 60p input and output via 16 3G SDI interfaces using the latest AJA Corvid 88 multichannel I/O boards to achieve the necessary number of connections in a practical unit. Realtime 8K 60p processing using the NVIDIA(r) Tesla(r) K80 GPU accelerators. Announced earlier this week, these world's highest performance GPU accelerators for data analytics and scientific computing are already part of the system demonstrated at InterBEE, thanks to Quantel's close working relationship with NVIDIA.

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Super-optimized software to sustain the 5GBytes/s throughput required for real-time recording, processing and playback of 8K 60pThe system demonstrated at InterBEE included four AJA Corvid 88 cards, three Tesla K80 GPU accelerators and three RAID 60 arrays offering 166 minutes of storage at 8K 60p (7680 x 4320 422 59.94 fps). 8K images were monitored in real-time on a virtual 8K display comprising four 4K monitors.General overview of Pablo Rio:Video is no longer available: www.youtube.com/watch?v=fPZvn52p70Michael Cioni talking about Pablo Rio and 4K+ resolutions. This is some crazy computing power, but 10 years ago people said the same thing about 4K, and here we are finishing 4K on laptops. The other advantage to this system is easily being able to handle footage higher than 4K, which was the case with Light Iron doing a 6K finish for Gone Girl. We are surely going to see more 6K and 8K-finished films over the next 5-10 years, especially with IMAX digital and ARRI's ALEXA 65, and it's fascinating to see what kind of power and hardware it takes to make it happen in realtime.

As far as I know, it has full file i/o ability.But theres no way to get color critical monitoring out of it - all you get is the software monitors.Also I don't think it can support any color panels.Don't get me wrong - I'm a long time lover of quantel stuff, especially their color grading tools. But the Pablo PA workflow is pretty specific, I'm not sure how much you would get out of it as a standalone machine.Good thing is - If you think it will fit into your workflow, Quantel is offering free 30 day trials for you to try it out. Talking to an operator who already runs a full Pablo he wasn't that impressed by what Quantel is pitching on this.The lack of monitoring is obviously a big issue for grading. The other point was that Quantel won't guarantee any specific level of performance with the software. So while it might allow me to reconform a RED RAW 4K sequence, there's no assurance that I'll be able to get a reliable playback from it. The pricing I've heard is around 8000 Euro which would put it in the same ballpark as DS 10.5 I guess, although DS also includes a $2500 Media Composer license and has hardware options.

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