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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

DaVinci Resolve V7.0 Supports Rocket

Gunleik Groven said:
So you'll need a PCI expansion if you need a SAN/RAID solution...
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I plan on using four Hitachi 2TB drives in software RAID 0 and putting the boot drive in the second optical drive bay for now.

Anyone used either the MaxPro or Pro Caddy 2?
 
In regards to Resolve taking over the grading world..

Look at what FCP did when it broke into the high end Avid world? Or when Photoshop came down on the Shima?

interesting to think about at the least..

Also, given that Resolve needs multiple cards etc, I've heard it can run on an iMac/Macbook.. this cant be right?
 
Stephen Strangways said:
BMD did actually demo it running on a Macbook Pro, either at NAB or near that time... there's a video of it online somewhere, but I don't recall exactly where.
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A MacBook Pro has two graphics chips in it, one from nVidia and one from Intel.
 
I think one of the reasons for the grumpiness on these threads about Resolve (both here and on the Cow) is the pain of change.

Editorial went through this years ago with FCP - everyone was cutting on expensive Avids and Lightworks and there was a great wailing and gnashing of teeth. We've seen, and still see, the same kinda nonsense over Red changing the quality/feature/price point equation in the camera world. Now it's the turn of the grading and finishing department.

Not saying that Resolve is going to be the best application but it will be the pervasive and influential and it will be responsible for other companies changing their price/feature habits. And before everyone chimes in and says it'll never happen because [their application] is the real deal, you can now buy Media Composer for $2,300. Never say never.

Just my 2c.
 
Shane Betts said:
And before everyone chimes in and says it'll never happen because [their application] is the real deal, you can now buy Media Composer for $1,200. Never say never.

Just my 2c.
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Media Composer for $1200. Did I miss a sale going on at Avid?
 
Steve Sherrick said:
Media Composer for $1200. Did I miss a sale going on at Avid?
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:001_rolleyes: Sorry. Yes, that was a sale price someone was offering on pre-release plus Matrox for $495 I believe. OK, so, MC is now $2,295 (now corrected in my original post). Still a long way from the days of mortgaging the house to get a seat. :thumbsup: That was my point.
 
Rick Turners said:
In regards to Resolve taking over the grading world..

Look at what FCP did when it broke into the high end Avid world?
Click to expand...

That's not a particularly good example. Even though Apple has certainly sold lots of Final Cut seats, the vast, vast majority of high end television programs and feature films are still cut on Avids. Hence my earlier points about sales numbers not always being that relevant to the mainstream industry.
 
Shane Betts said:
I think one of the reasons for the grumpiness on these threads about Resolve (both here and on the Cow) is the pain of change.
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I don't see any "grumpiness." I see realistic analysis rather than blind cheerleading over cheap stuff. People love to say things like "the pain of change", but it's just not there. Most high end DI companies have already made their system choices, and in some cases chose Resolve. In other cases, they've chosen Lustre, Baselight, Film Master, Pablo, or perhaps Scratch or Speedgrade DI. There is nothing really new in the Blackmagic remake of Resolve that would cause any facility already using any of those systems to want to change. It has nothing to do with pain, there is simply no real reason to change if the facility is already using one of those competing systems, has an infrastructure designed around it that's working, and a trained group of colorists who are very happy with them and can work efficiently.
 
So what is the required gfx card for Resolve on a MacPro? Is this a known? Will this card fit in the new Mac PRo offset slot, assuming 3 other cards (ATTO, Kona 3, Possible Rocket)

Is the ATI Radeon HD 5870 1GB enough card? Is a GeForce GTX 285 or a Quatro FX 4800 too much card?

Really debating the ROI of a Rocket card these days. Of course a 10k + new mac pro layout is in my future. If Kona 3 is not supported, that will be an unfortunate issue.
 
Brandon Kraemer said:
So what is the required gfx card for Resolve on a MacPro? Is this a known? Will this card fit in the new Mac PRo offset slot, assuming 3 other cards (ATTO, Kona 3, Possible Rocket)

Is the ATI Radeon HD 5870 1GB enough card? Is a GeForce GTX 285 or a Quatro FX 4800 too much card?

Really debating the ROI of a Rocket card these days. Of course a 10k + new mac pro layout is in my future. If Kona 3 is not supported, that will be an unfortunate issue.
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Probably have to switch that Kona out for a Decklink card of some sort, as that's probably a big part of their interest in acquiring DaVinci. If Kona support comes, I doubt it will be very soon.

*(there may be some factor to this equation that I'm missing out on, since I've been busy recently, so if this is wrong, I apologize).

Tim
 
M Most said:
...Most high end DI companies have already made their system choices, and in some cases chose Resolve. ... It has nothing to do with pain, there is simply no real reason to change if the facility is already using one of those competing systems, has an infrastructure designed around it that's working, and a trained group of colorists who are very happy with them and can work efficiently.
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And therein lies my point.

Mike, you come from the perspective of those high end DI companies. And you're dead right. Why would any facility already paying a lease on another system want to change to Resolve-on-a-Mac from their high priced system? Answer: they probably wouldn't. However, there will be a lot of smaller facilities and freelance operators for whom this kind of product could mean the difference between providing a service to their clients or outsourcing to high priced high end DI companies or grading on their NLE's because their clients simply don't have the budget. And they're the people Grant is interested in and always has been.

The pain comes when the little guy down the street - quite possibly one of your group of highly trained colorists - with a system costing 10% of what yours cost, starts building a rep for good work at a fraction of the price. That's when the Chicken Little impressions come out - just like it has in those other sectors. And that's why there are those who get grumpy when talking about solutions like this - I mentioned nobody's name. :hand:
 
Brandon Kraemer said:
So what is the required gfx card for Resolve on a MacPro? Is this a known? Will this card fit in the new Mac PRo offset slot, assuming 3 other cards (ATTO, Kona 3, Possible Rocket)

Is the ATI Radeon HD 5870 1GB enough card? Is a GeForce GTX 285 or a Quatro FX 4800 too much card?

Really debating the ROI of a Rocket card these days. Of course a 10k + new mac pro layout is in my future. If Kona 3 is not supported, that will be an unfortunate issue.
Click to expand...

The recommended configuration seems to be an FX4800 and a GTX 285.

Grant Petty has stated a number of times that they will be supporting other cards aside from Decklink. Believe it. That is genuinely the way the guy thinks and operates. He actually cares about the freelance artists he sees as his market and is, at the same time, arrogant enough to believe his products don't need a "fixed" market to compete. The mark of a true entrepreneur - if one that can't spell particularly well and has some truly weird things on his iPhone:001_rolleyes:
 
Shane Betts said:
The recommended configuration seems to be an FX4800 and a GTX 285.

Grant Petty has stated a number of times that they will be supporting other cards aside from Decklink. Believe it. That is genuinely the way the guy thinks and operates. He actually cares about the freelance artists he sees as his market and is, at the same time, arrogant enough to believe his products don't need a "fixed" market to compete. The mark of a true entrepreneur - if one that can't spell particularly well and has some truly weird things on his iPhone:001_rolleyes:
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I was an early adopter of Decklink HD... and a fan of BMD. I'm excited about Resolve for sure.

Follow up questions... why two cards? Is this for the full blown configuration with three displays? Can I run with a single 30" display? If I am able to use my Kona 3 that would feed my reference monitor. If I end up with two gfx cards and a Kona that might barely leave room for an ATTO board. A rocket is out of the question. Looking for some clarification for those in the know.
 
One GFX card to feed the GUI to displays and another to process the images - to give you the RT.

And yes, we are all scratching our heads as to how to fit two GFX cards, a Decklink or Kona, a HBA and a Red Rocket in a Mac Pro with only four bloody slots.

Somebody has to design an eSATA-FC breakout box that can run off the SATA bus on the Mac motherboard. Aside from Hackintosh, that's the only way I can see this working unless Apple do something smart with their Pro line - and it seems all their brains are turned towards i-products.
 
Ah, what I meant from my example was, when FCP came out, the pricing of MC started to fall. (already happening in DI)

And, undoubtedly, just as editorial became a saturated nightmare for a while (still is), so will color grading. :\
 
M Most said:
I don't see any "grumpiness." I see realistic analysis rather than blind cheerleading over cheap stuff. People love to say things like "the pain of change", but it's just not there. Most high end DI companies have already made their system choices, and in some cases chose Resolve. In other cases, they've chosen Lustre, Baselight, Film Master, Pablo, or perhaps Scratch or Speedgrade DI. There is nothing really new in the Blackmagic remake of Resolve that would cause any facility already using any of those systems to want to change. It has nothing to do with pain, there is simply no real reason to change if the facility is already using one of those competing systems, has an infrastructure designed around it that's working, and a trained group of colorists who are very happy with them and can work efficiently.
Click to expand...

Mike.
I'm sure you know, that Resolve on a Mac is never intended for use at high end DI houses. Well, not in the hero suites anyway. Junior conforming station, may be. However, it is intended for individuals and small facilities, that's looking to grow. It is laughable to propose, that any grading system, with very limited processing abilities at that, no matter the pedigree, could possibly replace multiple 4k streams capable systems at $300k and up. Resolve on a Mac, technically, isn't a revolutionary device. However, what you do get is a system, that is an equivalent to a stock R-100 (Linux with one GPU), that used to cost $200k only 6 months ago, that now can be had for around $10k. For someone, that has to reach into his own pocket and pay for the purchase, I find this fact particularly appealing. Add all bells and whistles, that Resolve comes with and, in my book, for a first time ever, independent user can compete with any other systems on the market, period. No workarounds, no excuses, just grading. I call this a revolution in independent color grading.
 
Mike is giving the perspective of large, established post houses. I thought I'd give another.

We're a boutique equipment and post services company in Brooklyn. We've been around for about three years. These days, most of our work is camera/dailies/conform/grade packages for indie features. All under $200K total budget, all shot on Red. There is a lot of this going on in the NYC market.

I just wanted to chime in here and say that with this announcement of Rocket support, Resolve for Mac now appears to be the exact product we've been waiting for for the last couple of years. If it does what it seems to do, it will be a game-changer for us, and will let us offer a no-compromises post product (by the standards of our market segment, which has no particular need for e.g. multiple streams of real-time 4K) at prices not that much higher than what we're currently charging to grade projects through Color.

At maybe $15-20K for a plausible setup, it's also right in our sweet spot for price -- cheap enough that installing a seat won't force us to dramatically increase our rates (which would mean finding a whole new client base), but expensive and specialized enough that everyone and their dog won't have one six months after it ships. Plus, a brand name that our clients will take seriously. What else could we really ask for?
 
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