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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

So are they working on RED Rocket support for real or is it "well get to it"
Will be interesting to see who is the first Color Corrector that has full RR support.
 
M Most said:
No business experience and no business plan..... right. OK. Good luck with that.
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???
If was in reference to securing major loans from a bank. You need a to have a business proposal with your loan application. If you go to B&H with a credit card, you do not need a business proposal or business plan or loan application.
 
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lionel2p said:
Lot of interesting things had been said here from the first post. For a small indie post-house like mine, a 995$ Resolve is a game changer in many ways. I'm already working with talents (colorists, workflow people). For 50k$, I can afford a brand new cinetal or Barco and a terrific projector for 2K screening. With a mac pro, a 4800 nvidia, a La Cie raid system and a CP200, I have no doubt I can run a 2K DPX sequence realtime (I already do that on my Smoke system). This investment is made 90% on reliable hardware. I tested Luster Stereo and Scratch recently, running on a single GPU card. Both systems were able do real time grade 2K with many secondaries and masks. I guess it will be the case with Resolve. From what I read on the Resolve Manual yesterday, the system is pretty close to systems like Luster rather than Color. It could be a real opportunity for the colorists I work with to do their job in an excellent grading room and express themselves. 5 days ago, it was impossible for me to invest 400 K$ in the same grading room. Period.
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I urge you strongly to forget about LaCie RAID's Lionel. I wouldn't trust ANY LaCie storage product as far as I could throw it. With the setup you've described, you'd be much better off going the G-tech, Dulce, or Caldigit route for a turnkey system.

Or you could put you own system together. I've recently built an 8TB RAID 5 system with a Highpoint Rocket Raid 4322 card, a ProAvio EB8MS SAS enclosure, 2 SAS cables and 8 Hitachi 1TB drives. I did this for under £1500 inc VAT.

The performance of this system rocks!

Adam
 
roryhinds said:
So are they working on RED Rocket™ support for real or is it "well get to it"
Will be interesting to see who is the first Color Corrector that has full RR support.
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Scratch has had it for many months now. You can also expect to see it in Baselight very shortly.
 
of course I always forget about Scratch, I guess I discount it as they had the tie in with RED from the beginning and I feel their software is overpriced
 
M Most said:
Scratch has had it for many months now. You can also expect to see it in Baselight very shortly.
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How Shortly Mike?

I have a RR card in my shelve waiting for the filmlight guys to give me the go ahead to drop it in!

I see a LOT of talk about this resolve for 1K. I really couldn't care less...

If you are posting in 2K sometime down the road u will have to do subtitles, versions, video color convertions, audio syncs, splitting to reels, quicktimes, dvds and a ton of other stuff, beside, someone investing 1K in software isn't likely to want to spend on other stuff like scopes, monitors, drives, heck, even sdi 4:4:4...

There has been FCP, AE and photoshop for a LONG time, and we still get PLENTY of work for our HEAVY iron suites.

as we say in spanish. No es la flecha, es el indio (it isn't the arrow, but the indian who aims and shoots it) well, kinda ;-)
 
roryhinds said:
anyone know if Resolve supports the Euphonix MC Color panel?
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As of right now it does not.. But while i was over at the Euphonix booth, I saw the Blackmagic guys having a meeting with one of their guys. So hopefully that means they'll be interested in supporting their control surface. Basically, what I was told from Euphonix, is that it's only uphill from here. More and more software solutions should become integrated in the future.
 
Adam Jeal said:
I urge you strongly to forget about LaCie RAID's Lionel. I wouldn't trust ANY LaCie storage product as far as I could throw it. With the setup you've described, you'd be much better off going the G-tech, Dulce, or Caldigit route for a turnkey system.

Or you could put you own system together. I've recently built an 8TB RAID 5 system with a Highpoint Rocket Raid 4322 card, a ProAvio EB8MS SAS enclosure, 2 SAS cables and 8 Hitachi 1TB drives. I did this for under £1500 inc VAT.

The performance of this system rocks!

Adam
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Thank you Adam for the advice. I will look into it. I already own a similar bay, sold with Smoke Linux (same than Luster or Flame). The bay is exactly the same (Autodesk confirmed that except for the controller). It's running fine here (SAS through...).
 
This is great for freelancers and small companies, but the big ones... where will most of their work go?
I imagine most production companies will just buy a Resolve and hire a colorist and save huge in the long run.

There will be more colorists working (as it is growing immensely as a desirable profession), but the work will be spread thinner.

What will Baselight, Lustre, Digital Vision and SpeedGrade do? Resolve has long been considered the top of heap, the "Bentley" of the color grading world. It is now the cost of a geo metro.. who in there right mind would pay $200,000 or more for a system that doesn't even have the prestige of DaVinci? Or will that prestige disappear after tons of heavy handed "newbies" destroy images and put them on youtube?

eg. 14 year old, "LOL, just made this video of my sis playing with my CAT, LOLZ, graded on DAVINCI, LOLZ!" ;p

(Will DaVinci loose clients? Lets face it, there will be a flood of users. Associating yourself with the system could become a negative factor..)

Light Iron Digital, (someone brought them up), in a recent article they basically marketed themselves as a facility that does "color correction of color correction".. basically saying "Fine, do your final grade in Color or DaVinci Resolve, we'll do a touch up for you! 5 hours max in our Pablo suite for a feature!"
Do you see that business model lasting while you've got a few $200k+ machines?

Maybe this will be the turning point, where people care less about what gear it was done on and more about the artist who work on it.

Who knows...
I'm excited!
 
Rick Turners said:
Maybe this will be the turning point, where people care less about what gear it was done on and more about the artist who work on it.
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I think it might be. It's pretty easy to dismiss the commodity-workflow advocates when we say "Really, this has most of the capabilities of a DaVinci, and it's a lot cheaper". It gets considerably harder to dismiss us when we can say "This is the exact same software. You can run it on an $8K system or a $100K system, but the output is the same."

I'm really curious about single-GPU performance. And about the status of adding ProRes support. The day this system can do real-time 2K grades from ProRes 4444 files and/or R3D files (and can render to ProRes), indie color grading is essentially a solved problem.
 
Chris Kenny said:
The day this system can do real-time 2K grades from ProRes 4444 files and/or R3D files (and can render to ProRes), indie color grading is essentially a solved problem.
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I've done that very often with SpeedGrade. While it's 15 times more expensive than the announced Resolve on the Mac it works as you described. BUT (big but) with ProRes and third party applications you have that gruesome QT gamma shift because they have to go through Apple's QT API. A colorist friend of mine took the time and figured out a LUT that must be applied to the rendering pipeline to match FCP's interpretation for play-out on tape.

If Resolves swallows the common LUT files types I can hand that LUT over to you...

Things are oftentimes more complicated when you are deep into things as it seems from the surface.

Hans

Edit: The described LUT must also applied to the program monitor. You want to see what you get.
 
Hans von Sonntag said:
I've done that very often with SpeedGrade. While it's 15 times more expensive than the announced Resolve on the Mac it works as you described.
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Well, it's nice to know this is at least possible in principle. What kind of hardware are you running SpeedGrade on?

(PM sent about that LUT. We have some in-house tricks, but it sounds like that approach might be better.)
 
I see many people here praising resolve/DaVinci... How many of u have actually driven one? There is a reason DaVinci was up for sale. Of all the high end color tools this the one that sold the least. DaVinci was entrenched on the hardware side of things until there was little choice but to build resovle. Had u been at their booth at NAB you could have talked to their demo artists and they would tell you that they where doing soooo feeew demos that it was boring. Meanwhille all the other major players where full. I am not saying it's a bad kit, but driving it correctly is anything but ez and u may find it kind antique in it's interface.

Let's not compare this to a red one. Jim came out with a camera that was 18k. Maybe at 12-14% the cost of a competing product, and he built it. Resolve is coming in at 1% of the competitors price??? What about the few who bought in at huge prices?

ussualy if it's too good to be true it ain't. Just sayin'
 
1. It seems they aren't entrenched on the hardware side anymore.
2. I could hardly care about those who bought in at expensive prices... it's a different company now.
3. Yes I downloaded the manual last night and it kicks ass compared to anything else I currently have access to.
 
"entrenched in hardware" it's been proven that, yes hardware is only as good as the software, but not always vice versa. but da vinci DOES take advantage of hardware and can function without 1st part stuff. It will still need a powerful GPU to accelerate it effects and color grading. But it's upgradable, and you can buy it commercially. You'll still need to get fast raid systems if you want 2k and beyond playback with large files with little to no compression on them. 4k DPX is still gonna require it to be "entrenched" in hardware, but it's all customizable to your needs now, and budget. They just don't like you into what they SAY you can only have and need. It's a beautiful thing when they redo their business model and say, hey, if you can only spend 6 grand on this system, here's a 6 grand system to do what you need to do, make some money with that, and save up and upgrade and get more hardware and make it a 50k system now. So on, and so forth.
 
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