10-bit HDR Workflow Without BM Card?

For the new year, I'm planning to change my workflow to pretty much entirely 4 and 8K 10-bit HDR. I'm on a Windows 10 PC- 3960 24 core AMD Threadripper, 128GB ram, and the Nvidia 2080ti graphic card will be replaced this coming week with an Nvidia 3090.
I'm currently using a two monitor configuration with one monitor running full screen at all times. It will soon be replaced with, probably, a LG CX55 OLED which I plan to run in full screen mode. I'm currently running Resolve 16.2 Studio version and would rather not use 17 until it's out of beta.
So, my question is, can I use my intended system and utilize all necessary 10-bit HDR functions WITHOUT having to add a BM card, which I'd prefer not to do? I seem to get conflicting information regarding this workflow. Also, I should add that in the future two monitor setup, the LG OLED will be connected to the 3090 card in a HDMI 2.1 configuration.

yes you might be able to do it if you have an external box SDI/HDMI [in] - HDMI [out] that can be programmed to inject the HDR bit in the streaming.

you get the HDMI from the clean feed, go there, set the flag on, then go to the monitor. it should work.

something like this:

https://www.aja.com/products/hi5-4k-plus - but then the price is up there...

the main issue is the HDR flag, I'm not sure that straight out of the clean feed you get it in order to drive the correct LG monitor.

8K HDR workflow was just being discussed in another thread. Short answer for now with HDMI 2.1, good luck!

I don't think luck has too much to do with it. With the latest generation of LG OLED TVs, HDMI 2.1 is required to be able to utilize ALL 10-bit HDR functions. Of course, some of those functions relate more to gamers, which I am not.
As I said in my original OP post: Lots of conflicting information. It would be great to hear from someone who has actually tried this kind of workflow. But, I certainly will appreciate ANY and ALL opinions and advice.

I don't think luck has too much to do with it. With the latest generation of LG OLED TVs, HDMI 2.1 is required to be able to utilize ALL 10-bit HDR functions. Of course, some of those functions relate more to gamers, which I am not.
As I said in my original OP post: Lots of conflicting information. It would be great to hear from someone who has actually tried this kind of workflow. But, I certainly will appreciate ANY and ALL opinions and advice.

I don't see the conflict.

At work we often have to present the reference monitor and an LG at the same time,

4xsdi to the x300
Loop to the aja box
Inject hdr flag
Go to lg.

You can if you have the right ducks in a row. What i don't think is possible is doing clean feed straight into lg and expecting to work.

So, my question is, can I use my intended system and utilize all necessary 10-bit HDR functions WITHOUT having to add a BM card, which I'd prefer not to do? I seem to get conflicting information regarding this workflow. Also, I should add that in the future two monitor setup, the LG OLED will be connected to the 3090 card in a HDMI 2.1 configuration.

Why have you discounted a BMD card? This is the proven hardware flow for every professional grading and online facility in world. Some of them (the cards) are quite cheap too. The power of the 3090 is in processing with DVR not as a replacement for proper calibrated video output. It should be noted too, depending upon your intended use, that an LG CX Oled is a consumer device capable of only some 600-700nits and is not suitable as a main grading monitor for broadcast HDR.

Nonetheless IMO it would far better to invest in a cheapish Decklink (capable of the HDR flag) which will provide far better output to the LG.

can I use my intended system and utilize all necessary 10-bit HDR functions WITHOUT having to add a BM card

Correctly? No. Clean Feed will not remove variables from the signal path that can (and do) alter the image.

An I/O device does.

Connect the LG to a Decklink.

can I use my intended system and utilize all necessary 10-bit HDR functions WITHOUT having to add a BM card

Correctly? No. Clean Feed will not remove variables from the signal path that can (and do) alter the image.

An I/O device does.

Connect the LG to a Decklink.

Jim, in a windows environment a decklink output and a clean feed output produce a match (with th 10bit to 8bit difference) if played on the same PVMa250 monitor (decklink with SDI cable and clean feed with HDMI).

In a MAC, I cannot say.

Afaik this is because Windows has no say in what gets output from gpu to display, especially in fullscreen mode.

Jim, in a windows environment a decklink output and a clean feed output produce a match (with th 10bit to 8bit difference) if played on the same PVMa250 monitor (decklink with SDI cable and clean feed with HDMI).

In a MAC, I cannot say.

Walter how is that possible? The 8bit limitation alone surely would defeat the OP's purpose. I'll do some tests myself but I find it hard to believe that clean feed via a graphics windows display driver can be identical to the pure video output of hardware.

I guess I should also point out that I am basically retired and make underwater, astro time lapse, and starting soon, relaxation type films at the ocean, rivers, etc. These are primarily for my Youtube channels. However, I do license my films for use on relaxation themed cable channels, and very short segments to others, most recently for use in an HBO Max documentary. No one has even requested HDR content from me yet and I don't expect it for sometime. So, this is mainly for my own channel use.

I never do anything with people, so don't worry about precise skin tones, clothing color matching, etc. From the conflicting info I've heard, much of the problem with clean feed is centered around is precise color. Also, I've heard references to the inability to actually make HDR adjustments and view them while doing so- although, that might have been in reference to doing it over HDMI 2.0 instead of 2.1, which I will be using soon. So, if the main problem is 100% precise color, I'm not terribly concerned, as long as it is very close. I'm somewhat new to Resolve- about 1 year- and use it in conjunction with Grass Valley Edius X, which has been my primary NLE for quite sometime. There are certain functions of Resolve which I prefer, and certain functions of Edius which I prefer. Presently, all final proofing and output is done on Edius, which also has HDR capabilities- Although I haven't used them yet. So, final color for this sky, and landscape work, would be done with Edius.

So, I will modify my inquiry to whether or not I can do 10-bit HDR and achieve reasonably close color without the Decklink card?

As I was asking about ways to use a LG CX on the LGG forum, someone suggested that a way around not having the correct HDR flags in the HDMI feed would be to use the secret menu code on the LG to force it into a particular colour space, EOTF, etc.

Looking at the Decklink cards, the 4K Extreme has an HDMI out- I'm pretty certain it's HDMI 2.0 and not 2.1. In the specs, it will only output 4:2:0, and NOT 4:2:2. You need to use SDI for that. Obviously not an option to connect to an LG OLED- unless I'm missing something. Next up, 8K pro has no HDMI out, only SDI. So, none of these things would seem to be appropriate.

What you all are missing (except 2D3D4K), is 8K. Walter, you are not doing 8K HDMI 2.1. To inject static metadata into HDMI 2.1 you need HDMI 2.1 compliant output. None of those devices including Blackmagic, HDFury, Aja etc; none support HDMI 2.1. It's not about anything lacking with the 8K UHDTV HDMI 2.1 compliant television. If this was just a 4K question, then there are all sorts of ways I agree. 2D3D4K gets it, thumbs up to Barry. The Teranex SDI->HDMI also does not support HDMI 2.1.

The one 8K HDMI 2.1 compliant component on the list besides the TV is the NVIDIA RTX 3090. It's got the HDMI 2.1 compliant output, but with no other 2.1 device to inject the HDR static metadata into its output, it will be SDR only. So that leaves the only option for 8K HDR is the 8K Decklink -> Teranex SDI->HDMI(quad) -> Sharp or Samsung commercial grade 8K display with quad HDMI 2.0 inputs, which is exactly how Blackmagic Design does 8K HDR in their studio. The 8K HDR club has no memberships open to consumer grade 8K televisions that play in the HDMI 2.1 sandbox through DaVinci Resolve at this time.

Also to clarify, I am presently working with 8K- for astro time lapse- and plan to start producing some for my channel, but I have no plans or interest in buying an 8K TV, monitor, etc. So, all post work will be done on 4K viewing devices.
Also, although it would be nice to be able to output the 8K with an HDR grade, it's not a deal breaker. However, I definitely would like to be able to use the LG OLED to be able to do 4K at 4:2:2. From what I've seen, the cards will not support this through HDMI.

What you all are missing (except 2D3D4K), is 8K. Walter, you are not doing 8K HDMI 2.1. To inject static metadata into HDMI 2.1 you need HDMI 2.1 compliant output. None of those devices including Blackmagic, HDFury, Aja etc; none support HDMI 2.1. It's not about anything lacking with the 8K UHDTV HDMI 2.1 compliant television. If this was just a 4K question, then there are all sorts of ways I agree. 2D3D4K gets it, thumbs up to Barry. The Teranex SDI->HDMI also does not support HDMI 2.1.

OP stated "a LG CX55 OLED ", that is a 4k monitor.

Again, I'm not well versed on the Blackmagic universe. On looking a little further into their product line, I see that their line of products includes external SDI to HDMI converter boxes. So, looks like for even 4K 10-bit 4:2:2, a card and external converter box would be required. Probably just my own quirk as I don't mind spending money for some things, but I have an aversion to companies who sell software and then want you buy hardware to make it work. If that's the case here, then I'll likely pass on this and look for solutions outside of Resolve. Not interested in having a card connected to another Rube Goldberg device with a bunch of wires!

Below is the list of my 4K/HDR setup.
Although, I’m in MacOS, I don’t see why it wouldn’t work in Windows. Except I’m using a BMD I/O interface. It works as a charm.

- LG C9 55” as a client display
- iMac 2020 8 core with GPU 40GB RAM/GPU 5700/16GB
- I/O BMD Ultra Studio Mini 4K thunderbolt 3 Capture & Playback for SDR and HDR metadata.
- 2 unit of Thunderbolt 3 G-Tech RAID arrays (16TB total).

There is no issue Resolve triggering the HDR flag to the LG9.

What you all are missing (except 2D3D4K), is 8K. Walter, you are not doing 8K HDMI 2.1. To inject static metadata into HDMI 2.1 you need HDMI 2.1 compliant output. None of those devices including Blackmagic, HDFury, Aja etc; none support HDMI 2.1. It's not about anything lacking with the 8K UHDTV HDMI 2.1 compliant television. If this was just a 4K question, then there are all sorts of ways I agree. 2D3D4K gets it, thumbs up to Barry. The Teranex SDI->HDMI also does not support HDMI 2.1.

OP stated "a LG CX55 OLED ", that is a 4k monitor.

There is some confusion then because he said he was going to a 4 - 8K workflow and HDMI 2.1. I was addressing the 8K part of his intended workflow change. 8K HDR 422 is the only part that would require HDMI 2.1.

Again, I'm not well versed on the Blackmagic universe. On looking a little further into their product line, I see that their line of products includes external SDI to HDMI converter boxes. So, looks like for even 4K 10-bit 4:2:2, a card and external converter box would be required. Probably just my own quirk as I don't mind spending money for some things, but I have an aversion to companies who sell software and then want you buy hardware to make it work. If that's the case here, then I'll likely pass on this and look for solutions outside of Resolve. Not interested in having a card connected to another Rube Goldberg device with a bunch of wires!

In the PC universe, the Decklink 4K 12G supports HDMI 2.0b and Mini Monitor 4K supports HDMI 2.0a, both set the HDR PQ flag., the 4K 12G also sets the HLG flag.

The Decklink is not a replacement for your existing GPU, works along side it. The Decklink output is full screen 4K/UHD HDR, your NVIDIA card displays the regular GUI to a separate monitor in SDR.

In a 4K HDR workflow, all you need is one of these cards, no rube goldberg connections.

HDMI Video Sampling
4:4:4, 4:2:2 & 4:2:0

https://www.blackmagicdesign.com/produc ... s/W-DLK-32

Again, I'm not well versed on the Blackmagic universe. On looking a little further into their product line, I see that their line of products includes external SDI to HDMI converter boxes. So, looks like for even 4K 10-bit 4:2:2, a card and external converter box would be required. Probably just my own quirk as I don't mind spending money for some things, but I have an aversion to companies who sell software and then want you buy hardware to make it work. If that's the case here, then I'll likely pass on this and look for solutions outside of Resolve. Not interested in having a card connected to another Rube Goldberg device with a bunch of wires!

In the PC universe, the Decklink 4K 12G supports HDMI 2.0b and Mini Monitor 4K supports HDMI 2.0a, both set the HDR PQ flag., the 4K 12G also sets the HLG flag.

The Decklink is not a replacement for your existing GPU, works along side it. The Decklink output is full screen 4K/UHD HDR, your NVIDIA card displays the regular GUI to a separate monitor in SDR.

In a 4K HDR workflow, all you need is one of these cards, no rube goldberg connections.

HDMI Video Sampling
4:4:4, 4:2:2 & 4:2:0

https://www.blackmagicdesign.com/produc ... s/W-DLK-32

Thanks Tom,
a big problem I'm seeing is that, even the 12G will only display through HDMI out at 4:2:0 and not 4:2:2.
So, it would appear, that something more is needed to achieve this. Kind of a major quagmire.

Barry, is that confirmed? How are you sure?

Barry, is that confirmed? How are you sure?

I'm getting it from the specs on BH website. I'm not entirely sure if they're just referring to 4K at 60fps, or 4K in general, but here's the link. I've looked at Blackmagic's website, and it's even less clear. See what you think. Also, looking at the converter boxes, even when using a card with one of them, it would appear that 4K is limited to 29.97. I would like to be able to do some stuff at 4K 60. Like I said, a quagmire.

https://www.bhphotovideo.com/c/product/ ... gIn8_D_BwE

Barry, I have a 4K Extreme 12G with HDMI output to my Eizo monitor. I mainly shoot 4K 50p from a GH5 with Ninja V and what shows on this monitor's signal information display pop up is 4:2:2.

Barry, I have a 4K Extreme 12G with HDMI output to my Eizo monitor. I mainly shoot 4K 50p from a GH5 with Ninja V and what shows on this monitor's signal information display pop up is 4:2:2.

Thanks, that's good to hear!!

Looking at the specs for the 12g Extreme, it states the following:

HDR Support
HDR metadata packing, HLG and PQ transfer characteristics. (HDMI supports static HDR metadata only)

What exactly does this mean when it says: "static HDR metadata only"?

Looking at the specs for the 12g Extreme, it states the following:

HDR Support
HDR metadata packing, HLG and PQ transfer characteristics. (HDMI supports static HDR metadata only)

What exactly does this mean when it says: "static HDR metadata only"?

This means that it doesn’t support dynamic metadata for Dolby Vision either for HDR10+.
In other words, no scene by scene, frame by frame HDR metadata.

Looking at the specs for the 12g Extreme, it states the following:

HDR Support
HDR metadata packing, HLG and PQ transfer characteristics. (HDMI supports static HDR metadata only)

What exactly does this mean when it says: "static HDR metadata only"?

This means that it doesn’t support dynamic metadata for Dolby Vision either for HDR10+.
In other words, no scene by scene, frame by frame HDR metadata.

Yikes, that doesn't sound good. How exactly would you be able to grade it in a dynamic scene. Massive use of keyframe adjustments and tracking masks??

PS: Does that only apply to Dolby, or all HDR formats?

Looking at the specs for the 12g Extreme, it states the following:

HDR Support
HDR metadata packing, HLG and PQ transfer characteristics. (HDMI supports static HDR metadata only)

What exactly does this mean when it says: "static HDR metadata only"?

This means that it doesn’t support dynamic metadata for Dolby Vision either for HDR10+.
In other words, no scene by scene, frame by frame HDR metadata.

Yikes, that doesn't sound good. How exactly would you be able to grade it in a dynamic scene. Massive use of keyframe adjustments and tracking masks??

PS: Does that only apply to Dolby, or all HDR formats?

This applies only to Dolby Vision and HDR10+. The rest of HDR formats are static only.
In addition, in order to implement dynamic metadata from Dolby you need L2 license from them, and their interface, which is about US$15,000. I believe AJA high end interface does Dynamic metadata too.

This applies only to Dolby Vision and HDR10+. The rest of HDR formats are static only.
In addition, in order to implement dynamic metadata from Dolby you need L2 license from them, and their interface, which is about US$15,000. I believe AJA high end interface does Dynamic metadata too.[/quote]
Thanks for that explanation. VERY helpful.

Since you seem quite versed in this, another question I have with regard to the 4K Extreme 12G, is that the specs say that at 4K 60, it does 4:2:0 rather than 4:2:2. As a workaround, would I be able to grade 4K 60 content at 4:2:2 if I dropped the timeline project settings to 29.97, graded the scene, and then changed the timeline settings for output back to the 4K 60? If so, would the color and grade hold at 4:2:2?

This applies only to Dolby Vision and HDR10+. The rest of HDR formats are static only.
In addition, in order to implement dynamic metadata from Dolby you need L2 license from them, and their interface, which is about US$15,000. I believe AJA high end interface does Dynamic metadata too.

Thanks for that explanation. VERY helpful.

Since you seem quite versed in this, another question I have with regard to the 4K Extreme 12G, is that the specs say that at 4K 60, it does 4:2:0 rather than 4:2:2. As a workaround, would I be able to grade 4K 60 content at 4:2:2 if I dropped the timeline project settings to 29.97, graded the scene, and then changed the timeline settings for output back to the 4K 60? If so, would the color and grade hold at 4:2:2? [/quote]


It should work because the Timeline and the Delivery page are independent of each other.
However, while color grading, you will see the artifacts associated with 4.2.0.
The only thing to take into consideration is when working with lower resolution than the final output.
The transforms you apply to the Timeline will look different, (smaller) when outputting to higher resolution in the Delivery page. I don't know if Resolve 17 resolved that behavior.

Yikes, that doesn't sound good. How exactly would you be able to grade it in a dynamic scene. Massive use of keyframe adjustments and tracking masks??

those are two different things:
1) you grade normally using a calibrated monitor in HDR (like the LG or better). you need to be mindful of the maximum nits that monitor can do and what happen to the values when it pass the threshold.
2) once that is done, you want to create dolby dynamic metadata that accompany the main HDR grade in order to tell less capable display what to do with the information.

for example, let's say that I did a 2000 nits dolby master, there are very few (if any) tv in teh world that can handle that value, so, there is metadata that can tell to a dolby compatible device what to do, you have 5 different level: 4000/2000/1000/600/100 nits (100 nits being SDR, on a dolby HDR compatible device). in that case, if your display only can do 600 nits, you can tell how to map the extra nits elegantly.

in order to do that, you need a dolby analysis and a trim value.

now, in resolve 16 studio, you CAN do the analysis, what you cannot do is the trim (You need the mentioned dolby license), but if you like the analysis and you don't need additional trims, you're done.

when you do that, you can activate the software CMU in the decklink card and see the result (I don't think you need anything else for that...).

This applies only to Dolby Vision and HDR10+. The rest of HDR formats are static only.
In addition, in order to implement dynamic metadata from Dolby you need L2 license from them, and their interface, which is about US$15,000. I believe AJA high end interface does Dynamic metadata too.

Thanks for that explanation. VERY helpful.

Since you seem quite versed in this, another question I have with regard to the 4K Extreme 12G, is that the specs say that at 4K 60, it does 4:2:0 rather than 4:2:2. As a workaround, would I be able to grade 4K 60 content at 4:2:2 if I dropped the timeline project settings to 29.97, graded the scene, and then changed the timeline settings for output back to the 4K 60? If so, would the color and grade hold at 4:2:2?

It should work because the Timeline and the Delivery page are independent of each other.
The only thing to take into consideration is when working with lower resolution than the final output.
The transforms you apply to the Timeline will look different, (smaller) when outputting to higher resolution in the Delivery page. I don't know if Resolve 17 resolved that behavior.[/quote]
I'm not planning on dropping the resolution, just the project framerate, and then raising it back up for final output.

This applies only to Dolby Vision and HDR10+. The rest of HDR formats are static only.
In addition, in order to implement dynamic metadata from Dolby you need L2 license from them, and their interface, which is about US$15,000. I believe AJA high end interface does Dynamic metadata too.

Thanks for that explanation. VERY helpful.

Since you seem quite versed in this, another question I have with regard to the 4K Extreme 12G, is that the specs say that at 4K 60, it does 4:2:0 rather than 4:2:2. As a workaround, would I be able to grade 4K 60 content at 4:2:2 if I dropped the timeline project settings to 29.97, graded the scene, and then changed the timeline settings for output back to the 4K 60? If so, would the color and grade hold at 4:2:2?

It should work because the Timeline and the Delivery page are independent of each other.
The only thing to take into consideration is when working with lower resolution than the final output.
The transforms you apply to the Timeline will look different, (smaller) when outputting to higher resolution in the Delivery page. I don't know if Resolve 17 resolved that behavior.

"][quote=I'm not planning on dropping the resolution, just the project framerate, and then raising it back up for final output.[/quote]

I mentioned the potential issue with the resolution as a caution, not because you said you are planning to do that.

You can't change the project frame rate, but the good news is you don't have to.

You can't change the project frame rate, but the good news is you don't have to.

Tom, if I wanted to do 4K 60 at 4:2:2, the 12G won't do that, but will drop down to 4:2:0. That's why I'm trying to find a workaround, so if I get the 12G, I'll have the option to use the card at 4:2:2 at higher frame rates without the drop down in the grade.

Yikes, that doesn't sound good. How exactly would you be able to grade it in a dynamic scene. Massive use of keyframe adjustments and tracking masks??

those are two different things:
1) you grade normally using a calibrated monitor in HDR (like the LG or better). you need to be mindful of the maximum nits that monitor can do and what happen to the values when it pass the threshold.
2) once that is done, you want to create dolby dynamic metadata that accompany the main HDR grade in order to tell less capable display what to do with the information.

for example, let's say that I did a 2000 nits dolby master, there are very few (if any) tv in teh world that can handle that value, so, there is metadata that can tell to a dolby compatible device what to do, you have 5 different level: 4000/2000/1000/600/100 nits (100 nits being SDR, on a dolby HDR compatible device). in that case, if your display only can do 600 nits, you can tell how to map the extra nits elegantly.

in order to do that, you need a dolby analysis and a trim value.

now, in resolve 16 studio, you CAN do the analysis, what you cannot do is the trim (You need the mentioned dolby license), but if you like the analysis and you don't need additional trims, you're done.

when you do that, you can activate the software CMU in the decklink card and see the result (I don't think you need anything else for that...).

Thank you, that was very helpful!!

You can't change the project frame rate, but the good news is you don't have to.

Tom, if I wanted to do 4K 60 at 4:2:2, the 12G won't do that, but will drop down to 4:2:0.

How do you know that?

Yikes, that doesn't sound good. How exactly would you be able to grade it i
in order to do that, you need a dolby analysis and a trim value.

now, in resolve 16 studio, you CAN do the analysis, what you cannot do is the trim (You need the mentioned dolby license), but if you like the analysis and you don't need additional trims, you're done.

when you do that, you can activate the software CMU in the decklink card and see the result (I don't think you need anything else for that...).

Most of the times, in the eyes of the cinematographer, director or producer a trim pass is needed.
If you are working along, in your own project the decision not to do the trim pass is your.
However, working with clients, the decision to do a trim pass is out of your hands. So, not needing anything else depends in the type of business account we are working on. So, I would suggest to be prepared at least to have the right answer for the client in advance before they ask for the trim pass.

You can't change the project frame rate, but the good news is you don't have to.

Tom, if I wanted to do 4K 60 at 4:2:2, the 12G won't do that, but will drop down to 4:2:0.

How do you know that?

It says so in the specs, that 4K 60 is 4:2:0 when done through HDMI out.

Most of the times, in the eyes of the cinematographer, director or producer a trim pass is needed.
If you are working along, in your own project the decision not to do the trim pass is your.
However, working with clients, the decision to do a trim pass is out of your hands. So, not needing anything else depends in the type of business account we are working on. So, I would suggest to be prepared at least to have the right answer for the client in advance before they ask for the trim pass.[/quote]

As I mentioned in a previous post, fortunately, I'm now retired and only do my own projects for my Youtube channels. I do license some work to cable channels, and occassionaly to other production companies. They're only interested in standard 709 4K content. So, I only answer to myself. I do tend to be my own biggest critic, but not so big that I would shell out $15,000. for a Dolby license.

If YouTube is the destination delivery format, I wouldn't worry about 4:2:0 in 4K 60fps. Will you even be able to tell the difference on your material? I can understand if it's captured output from a computer or something like that, but not on video shot with consumer/prosumer cameras.

You can't change the project frame rate, but the good news is you don't have to.

Tom, if I wanted to do 4K 60 at 4:2:2, the 12G won't do that, but will drop down to 4:2:0. That's why I'm trying to find a workaround, so if I get the 12G, I'll have the option to use the card at 4:2:2 at higher frame rates without the drop down in the grade.

Not sure why 4K 60p over HDMI would switch to 4:2:0 if this card has proper 2.0 chip (60p has to be 4:2:2, but nothing forces 4:2:0- there is easily enough bandwidth in 2.0 spec for 4:2:2).
If SDI can provide 4K 60p 4:2:2 so HDMI should as well.
Issue can be card talking to TV and agreeing on 4:2:0 instead of 4:2:2 for whatever reason. Have you ever tried other TV?
This is why I always go (if possible) with AJA cards- they hide way less surprises compared to BM
What you would have to do is use SDI+ eg. AJA SDI 12G to HDMI converter.

For those who want to do bit of R&D/testing etc. GUI preview is also a solution- less cards and direct GPU output.

Also- where exactly spec says that 4k 60p is 4:2:0 over HDMI?
Either this is issue with specific TV, some strange limitation or card in reality uses tweaked 1.4 chip, instead of real 2.0 one (but I think BM specifically added real 2.0 expansion board no?)

Regarding HDMI 4:2:0 at 4K 60fps, here is a link to B&H webpage for the 4K 12g Extreme. Read the specs:

https://www.bhphotovideo.com/c/product/ ... gLBUfD_BwE

Not on BM website.
If this is true then possibly card has an old 1.4 spec chip, which is modded to support HDR flagging (it was common in early days of 2.0 spec). One can try to identify HDMI chip model and google it for spec (Analog Devices or Silicon Image ?)

4K Extreme 12G with HDMI output to my Eizo monitor showing signal information.

OK, so chip is 2.0 spec and most likely incompatibility issues with given TV.
Best test- black and red squares grid. You will see on edges if signal is 4:2:2 or 4:2:0. 2nd one will be blured vertically and horizontally.

4K Extreme 12G with HDMI output to my Eizo monitor showing signal information.

Thanks Claire. Just to be clear; were your project settings at 4K 60fps? Also, for your screen capture, it says BT 709. Was that the color space you were using? If so, could you take another look at this at BT 2020?

Both setting are rather meaningless in this matter. You can have project at 8K. Monitoring setting is what matters in case of Resolve and preview over BM.