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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

Frank Cueto said:
Same way that the After FX guy, no matter how fast or good, ussualy gets paid less than the flame dude, even if he takes just as long...

Seen it plenty of times.
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Yes. And interestingly enough I know one very talented AE guy who refuses to learn Flame although the facility he is working for would love to see him doing so.

To become a good Flame artist takes some time. And it's not only the box but also the knowledge to serve clients well. Flame sessions are very often supervised by impatient, fastidious and demanding agency people. Not everyone's cup of tea.

Understandable that the facility pays such a client tamer a premium.

Hans
 
Has anyone mentioned that this is the system that Avatar was CC'd on? 3D 4K is pretty damn cool.
 
Stefan Christou said:
Has anyone mentioned that this is the system that Avatar was CC'd on? 3D 4K is pretty damn cool.
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The system that Avatar was finished on (actually multiple systems) each had at least 3 or 4 Linux chassis with Infiniband interconnects, a separate combiner, and many terabytes of very, very fast storage, not to mention a screening room environment designed for 3D color work and a very talented, experienced colorist in Skip Kimball. That is hardly the same as $1K software running on a Macintosh.

As for 3D 4K, that would require a system capable of dual streams of 4K material, and it would also require dual 4K projectors, as nobody currently makes a projection system capable of projecting 4K images at the elevated frame rates required for a RealD or Xpand type of approach. The 4K DLPs due later this year might fit that bill, but at the moment such a unit does not exist.
 
Tim Whitcomb said:
I think its a great deal, Im speaking to the legions of aspiring colorists who think if they spend $1000 on software and buy a graphics card that they can compete with the above.
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If I was to generalize I'd say aspiring colorists don't think $1000 on software and a graphics card do the trick because they don't work with a shovel for a living.
Unless you were referring to folks who choose own titles based on tools which lie in front of them.

They don't have to compete because their market in many times larger.
 
Rick Turners said:
I can name a few.. all former CO3.

One runs a iQ suite from his basement.
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$400K system

Rick Turners said:
One runs Apple Color out of a suite on a studio lot in Hollywood.
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so do 1000's of other people... no high end post house cares about Apple Color in someones spare room or basement. Doesnt mean they cant land clients, but it wont affect the core business of a post house.

Rick Turners said:
One started his own company which has a daVinci 2k and is planning to purchase Resolve.
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again, this is someone who invested a TON (office, legal fees, furnishings, not to mention an industry standard system... i.e. heavy iron.

Rick Turners said:
I know some of the clients they worked with prior stayed with them. After all, it's all about the artist, right?
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For the most part yes, but most pros have expectations that cant be met in your spare room or garage.

Rick Turners said:
not planning on giving out names
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because you cant. FWIW: I specifically asked Alex Hastings , since he seems to be implying that a colorist with a MAC and a Copy of Resolve will topple the likes of Light Iron, Efilm, etc.
 
I don't think the big guys will topple, they're locked in with the big money for reasons more then just the artist doing the color grade. (and long standing contracts?)

I think it's the guys who run small shops who invested in heavy iron and are competing for the same jobs as Apple Color/future DaVinci people. ($30,000-300,000)

More then anything though, this is going to screw the aspiring colorist.
Might as well try acting now.
:p
 
Here's my 2 views (not really 2 cents)

1.
Color, Resolve, AE and SmokeMac mostly broadens the market.
More productions will go through a Colorist/DI process "of kind"
Many of the productions that go through "light Iron" solutions would never been able to go through a "heavy Iron" solution anyway, but some of the producers eventually will - those who are lucky AND make the right choices. It pretty much is a win/win situation for all, like RED was a couple of yars ago.

Adobe buying into Assimilate is much of the same trend.

2.
There are different kind of markets. I have always thought RED would gain most traction first in smaller markets. In Norway that has been very true. The same goes for Color/Resolve for Mac/"Light Iron" solutions.

Probably these solutions will trickle down to bigger budget productions in some extent, like RED has done, but there will be room for both.

All post houses here that I know anything of, that has gone for "Hollywoodlike" solutions, have struggled immensely, because we don't have a "Hollywood/American/German/British" like production environment.

Disks and infrastructure costs the same everywhere. Yearly fees and closed solutions have not made business sense to most of those who have tried it.

There's two solutions to this:
The one is to send all online abroad. - Which is just not gonna happen....
The second is to find solutions that fit local budgets.

And that's where Color, Smoke for Mac, Resolve for Mac and the like come in.

There is AFAIK One Scratch lisence in Norway. And I hope/think he does well!!!

That said, I know that when I was discussing with Assimilate - the reality I see here, does not fit the cost. I think it is silly to attack people for being realistic on their market expectations. When discussing budgets in Norway and Germany the scales are almost as different as the population. Even the local major players need to relate to that.

That is sorta what I think the discussion between Ola Haldor and M Most misses. They are talking about totally different realities.

But both are true. Depending on where they live.

Of course we have 435's, Master Primes, Smokes, DaVinci's, Nucoda's, EQ's etc in Norway.

Problem is that they are not all making money, and quite a few because the cost of owning do not relate to the market.

My guess is that this might be true in a lot of other settings than the Norwegian one.

Norway is an odd place.

We go all DCP early.
But we're a market of only 5 million. A suburb to Paris.

Red, Alexa, Resolve/Mac, Smoke/Mac is only putting the finger into the air and feeling where the wind blows makes market sense.

A well funded film in Norway have a budget of 3-5 mill$.
The same goes for a "big" TV series.

That give some answers as to what kind of equipment one want to use.

One still want to afford actors and light, in addition to go through a "proper" online process...

Everyone don't live in a situation where US network TV and cinema is the scale we're working in...
 
Last week I visited Blackmagic's European HQ and got to see / with DaVinci on both the Mac and on Linux. I was very impressed with both products!

In terms of the toolset I would say it is a lot better than Color (which is my main point of reference. I have used Scratch and SpeedGrade as well, but not the last year so I refrain from comparing it to these packages..) - the application seems a lot more mature. One point to make is that even with the Mac-version is that you'll quickly want the DaVinci grading panel - it's amazing!

With regards to Gunleiks posts about the Norwegian market I couldn't agree more. That's why I believe BlackMagic has a very interesting "gradual upgrade" model:

1. Get the Mac-license for you Mac Pro
2. Get the Wave Panel
3. When/If you generate the business, get the DaVinci panel
4. If/when you generate the business and have to do stereo 3d, 4K or very demanding 2K/HD work you get the Linux version

Only thing missing is the $99 academic version...
 
actually, is this $995 available yet? It seems we have to wait until Sept.
Thanks.
 
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