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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

I give up. Go deal with your so called high-end clients. My name is Shashbugu, how dare you?
 
shashbugu said:
I give up. Go deal with your so called high-end clients. My name is Shashbugu, how dare you? M Most sounds like a rappers nick name
Click to expand...

The M stands for Michael, something Jarred told me to leave alone. Thanks for the insult, now I know who I'm dealing with.
 
M Most said:
The M stands for Michael, something Jarred told me to leave alone. Thanks for the insult, now I know who I'm dealing with.
Click to expand...

Not sure why you feel insulted if M Most sounds like a rappers name. But I apologize if you think I attacked you personally. I'll edit my previous post to clear that Cheers!!
 
What the FLUT™?

DVision, FilmMaster and FLUT™ all sound like rapper names.

But the first 3rd party CC program with FLUT™ support was A.N.T.
 
shashbugu said:
4. Adobe builds scalable tools, you can build a $200,000, node based system around AE as a finishing tool.

...

11. Can I edit my Red footage in Adobe PPro and Key, roto, add 3D elements and add explosions, in AE CS5 in real time, yes

...

So why do I need a $50,000 system.
These are the decisions we make.
Click to expand...

I don't know if you've had your hands on After Effects CS5 - but 'realtime'? Not on my machine...

Seriously, if you had ever graded a feature on After Effects you wouldn't suggest this as a viable option. I've used After Effects as my main tool for more than 10 years and I love it's flexibility. But grading anything longer than a commercial or maybe a short film is painful to say the least. Mostly because of the interface that is not optimized for the task (I'm clicking all over the place to select the right layer and apply effects) - and because of the render architecture that slows it down.

Premiere CS5 could be a better candidate (since it does have the CUDA accelleration) but the grading tools in it are not optimal and no control panel support.

I agree Adobe could put 1 and 1 together and create a superflexible superpowerful finishing Suite. But at the same time Adobe puts a lot of effort in Flash import/export etc, so their focus is all over the place. I still use After Effects almost every day. But when I'm grading and finishing I like my Scratch.
 
Barend Onneweer said:
I don't know if you've had your hands on After Effects CS5 - but 'realtime'? Not on my machine...

Seriously, if you had ever graded a feature on After Effects you wouldn't suggest this as a viable option. I've used After Effects as my main tool for more than 10 years and I love it's flexibility. But grading anything longer than a commercial or maybe a short film is painful to say the least. Mostly because of the interface that is not optimized for the task (I'm clicking all over the place to select the right layer and apply effects) - and because of the render architecture that slows it down.

Premiere CS5 could be a better candidate (since it does have the CUDA accelleration) but the grading tools in it are not optimal and no control panel support.

I agree Adobe could put 1 and 1 together and create a superflexible superpowerful finishing Suite. But at the same time Adobe puts a lot of effort in Flash import/export etc, so their focus is all over the place. I still use After Effects almost every day. But when I'm grading and finishing I like my Scratch.
Click to expand...

I meant edit and effects in cs5 color grade in Resolve. We were arguing about the price point of yet to be realeased tools and what constitutes highend. In my day job I work with the super highend here in LA, but in my private life I would like to have an affordable suite in my garage to work on my Red films.
I don't need a Highend monitor, but I do need realtime debayering.
 
shashbugu said:
I meant edit and effects in cs5 color grade in Resolve. we were arguing about the price point of yet to be realeased tools
Click to expand...

I wasn't arguing about anything. I was trying to have a civil discussion about features and capabilities, and why there is a high end of the spectrum and a low end, and why they're both useful and necessary under different circumstances.

As for the insult, you referred to "so called high end clients." As someone who's been working almost exclusively on major network television programs and studio features for about 30 years, yes, I do take offense to that. I'm not better than anyone else because of what I've worked on or done, but the fact is that there is a "high end" - based primarily on budget, but also on the talent, reputation, and experience of the creators involved (not me). That's why studios and networks are willing to spend $3-4 million per episode on these shows. When you're working on them, you need to deliver or you don't come back. The ability to deliver quickly, accurately, creatively, and reliably is what the high end toolsets are all about.

If you doubt who I am or what I say, since you seem to consider the Internet some kind of bastion of truth, feel free to look me up on IMDB, my blog, or other places. Or ask others here like Graeme, Deanan, Dave Mullen, or a number of others who know me personally. But this is the last time I'm going to defend myself, because frankly, I really have nothing to prove.
 
M Most said:
I wasn't arguing about anything. I was trying to have a civil discussion about features and capabilities, and why there is a high end of the spectrum and a low end, and why they're both useful and necessary under different circumstances.

As for the insult, you referred to "so called high end clients." As someone who's been working almost exclusively on major network television programs and studio features for about 30 years, yes, I do take offense to that. I'm not better than anyone else because of what I've worked on or done, but the fact is that there is a "high end" - based primarily on budget, but also on the talent, reputation, and experience of the creators involved (not me). That's why studios and networks are willing to spend $3-4 million per episode on these shows. When you're working on them, you need to deliver or you don't come back. The ability to deliver quickly, accurately, creatively, and reliably is what the high end toolsets are all about.

If you doubt who I am or what I say, since you seem to consider the Internet some kind of bastion of truth, feel free to look me up on IMDB, my blog, or other places. Or ask others here like Graeme, Deanan, Dave Mullen, or a number of others who know me personally. But this is the last time I'm going to defend myself, because frankly, I really have nothing to prove.
Click to expand...

Well I do not mean to offend you in any way whatsoever, so I do appologize. I was merely stating that as a Reduser I really don't care about what the networks are willing to spend or what facilities need to spend to acquire tools. I was merely stating today as we speak and in the near future very young and innovative people are coming out with tools and applications that will be better than the so called highend tools. Networks are shooting primetime show on DSLRs and Hdv tape, the bottom line is creativity and profit not exotic tools.
 
"Well I am Mike to the Most
I'm from the West Coast
I lay down the color like it was jam on toast.

I work the high end baby.
Yeah just the high rollers.
That's why I like to use
DaVinci controllers.

You got the R, G to the B
The lift, the gamma, gain
I work in realtime baby
The rest is just a pain."

That's what it could sound like if Mike were a rapper.

Just a little comedy to lighten things up?? Hope someone cracked a smile over this post. Was meant to accomplish nothing more than that :)
 
Chris Parker said:
"Well I am Mike to the Most
I'm from the West Coast
I lay down the color like it was jam on toast.

I work the high end baby.
Yeah just the high rollers.
That's why I like to use
DaVinci controllers.

You got the R, G to the B
The lift, the gamma, gain
I work in realtime baby
The rest is just a pain."

That's what it could sound like if Mike were a rapper.

Just a little comedy to lighten things up?? Hope someone cracked a smile over this post. Was meant to accomplish nothing more than that :)
Click to expand...

cheers mate:laugh:
 
Chris Parker said:
"Well I am Mike to the Most
I'm from the West Coast
I lay down the color like it was jam on toast.

I work the high end baby.
Yeah just the high rollers.
That's why I like to use
DaVinci controllers.

You got the R, G to the B
The lift, the gamma, gain
I work in realtime baby
The rest is just a pain."

That's what it could sound like if Mike were a rapper.
Click to expand...

No wonder your company is called BLING Digital. :001_cool:
 
IMHO, the offline will exist for a very long time. Broadcast is one of the slowest places in post production that upgrades. Quickest I've seen is every other year, I've seen some post houses that haven't upgraded in almost 5 years. Why? Cause it's more cost effective, why by a quadro 4800 card for 1800 dollars ish? when you can run a dirt cheap system, edit low rez SD proxies, and have the in house conform/finishing station online it. For the amount of yield a lot of post houses get, that is still one of the most efficient and cost effective ways of doing things. The thing is now though, that that single conform/finishing station is going to be a LOT cheaper now that we have so many cheaper tools. So the offline may not be dead cause of CUDA. but the online is sure gonna be a lot cheaper, and I expect CUDA to be a major part of that.
 
one idea

one idea

Just thinking...

We'll have the mac Resolve running in a mac pro, and there's a lot of discussion about the slot limitation of the mac pro, as far I've heard, there's only one configuration posible, two GPU's, one video I/O, one RAID/STORAGE interface and you're done with the PCI slots. OK. So, only software conversion of RAW material (1/4 , 1/2 debayer while working, full on render), no REDROCKET support inside Resolve. I would like it could have it (like Scratch), but that's the deal right now.
By the other hand, older Resolve (linux) can use external DDR's (like Doremi) that holds digital video and even DPX sequences and drive the image to the Resolve's video input and control it's playback remotely (please correct me if I'm wrong).
So, what about if we could control REDCINE-X playback remotely, we may have a PC with REDROCKET on it where we set the debayer settings and base color and feed the Resolve in real-time full debayer playback? like a PC-REDROCKET based DDR video server...

Any Thoughts?
 
"The new Mac based software only version of DaVinci Resolve will retail at only US$995 and includes all the powerful DaVinci Resolve features. When running on a Mac, DaVinci Resolve is limited to a single GPU based solution because of slot availability and lack of InfiniBand for Mac, however this does not mean it's limited on power! In the company’s performance testing, the single GPU performance on Mac is similar to the single GPU Linux systems that cost $200,000 only 6 months ago."



Mac will only allow for 1 gpu acceleration, and you'll need a decklink in there too. you will probably have to end up with pci X expander if you wanna push further with rocket and so on, the NVIDIA cards take up 2 slots...
 
because of the lack of PCI slots I'm thinking about external debayer... RedRay is supposed to play back R3D media, but, how do you control color settings? It may be cool to have a RedRay to play the media to the Resolve.
There's some talking about a PCI-Expander, but no confirmation from DaVinci if it may work. And a good expander is more expensive than a simple PC to hold the RedRocket.
 
http://www.magma.com/pciexpansion.asp

could probably run all your periph cards from this with all ur primary cards in your main desktop. gpu/decklink main box, and RR and other cards in this, or gpu/RR in main box, and decklink and other cards in expander... I don't believe the current info says it uses your decklink card for video acceleration in the grade, you need it just to source to your reference monitor, won't know until it all comes out and somebody tries this out.

Or you can build a second machine just for RR, and i believe red ray will only play back at 15 mbps thus far, that level of compression may be no good for video mastering quality in capture...
 
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