I want to build a DaVinci suite for film out. Can someone explain what I'd need?

[Frank Bartouski]

Basically, I'd like to build a DaVinci suite that's capable of a workflow that allows accurate color grading for film out, and I have a general idea of what I'd need but I don't know what I don't know so hopefully someone more knowledgeable can walk me through everything.

It seems the best workflow would be to work in log film color space which would require custom LUTs. I know what a LUT is, but I'm not sure how they fit into the workflow. Where do you get a custom LUT from? Also, will it really be/look accurate if your viewing devices are only capable of showing you REC709 or P3? From my understanding those spaces are much more confined in comparison to log film.

Thanks.

 

[Chuck Z]

While it doesn't hurt to get advice on this forum, you might try ringing up Black Magic Design and ask for consultation (presuming you're buying at least the $999 DaVinci Resolve). They could probably recommend some system specs if there aren't any posted already on their website.

 

[mikeburton]

Frank, you will of course need the hardware which Blackmagic has outlined on their site so I won't go too much in detail in that stuff ie Computer (HP z820, RAID, Output card, GTX's, Expansion Chasis, REDROCKET etc). Good Monitoring is essential, and I'd recommend hiring a professional like Dave Franks to do your calibration every couple months or when necessary. Good hardware scopes are great and or Blackmagics own Ultrascope which we use at our studio. If you plan on projection I'd recommend the Christie CP2000 or the Barco DP-12C 2K DLP projectors. And then you'll either want to invest in Cinesape calibration/LUT generation software or hire someone like John Tissavary who frequents this forum who can get you dialed in.
Then you need a good eye

 

[Will Keir]

+1 on this subject. I'm in the process of slowing acquiring the gear for a CC suit, at least enough to get ball back and do the final touches with a colorist.

 

[Frank Cueto]

Oh Shit, I know I am going to catch hell for this, but fuck it, here it goes....


The question you asking is analogous to someone who knows almost nothing about skydiving asking about what he needs to do, to acomplish something similar to the Redbull's Stratos jump.


No offense intended, but dude, before you contemplate doing FILMOUT (as in simulating arilaser neg out, printing to positive stock and projecting on 5600K film projectors, you first need to at least to get your output matching on tv screens or an ipad.


babysteps, you know....


Heartfelt opinion, really, not trying to be a dreamkiller but there is some real shit that needs to happen before you get your stuff looking identical on a estar 5422 stock kinda stuff.......

 

[Marc Wielage]

The question you asking is analogous to someone who knows almost nothing about skydiving asking about what he needs to do, to acomplish something similar to the Redbull's Stratos jump.

Well said, Frank. I think if Mr. Bartouski is serious, he should hire a consultant like Steve Shaw:

http://www.lightillusion.com/

or Evangelos Achillopoulos:

http://www.motionfx.gr/

both of whom specialize in setting up post facilities specifically for D-Cinema and film-out work. Suffice it to say that it can be very expensive and complex, particularly in that you have to have film recorders -- preferably more than one -- plus film projectors, and a room large enough to handle digital projectors and comparing the digital image directly to film. The Resolve is the least expensive part of the whole operation; it's the pipeline, storage, and backup that cost all the money and take a good-sized staff to maintain, plus you need sufficient space to have a large, comfortable room, with I'd say at least a 15' or 20' screen for best results, an accurate projector precisely calibrated, and color-management software like FilmLight:

http://www.filmlight.ltd.uk/

Quantel's Digital Factbook goes into some of this in detail, as does the technical papers at Filmlight.

http://www.quantel.com/repository/files/library_DigitalFactBook_20th.pdf

Filmlight and THX's Cinespace are probably the major LUTs used by the Hollywood facilities of which I'm aware:

http://www.thx.com/professional/thx-technology-professional/thx-color-science/cinespace/

THX and Filmlight also provide training for your engineering department, and Arriflex (makers of the Arrilaser Recorder) also has training classes on the maintenance of their products:

http://www.arri.com/digital_intermediate_systems/arrilaser.html

Suffice it to say this is a very, very complicated part of the business, particularly in calibrating your film-outs to that of the local film labs in your area. Every laboratory is slightly different, so determining in advance how to compensate for differences between files and print film is very tricky.

 

[Steve Shaw]

Thanks for the comment Mark.

Actually, LightSpace CMS is probably the most widely used colour managements system in the industry at the moment.
And we do also provide full film lab profiling to enable accurate print projection emulation.

With the correct tools the workflow is actually very easy to set-up and maintain.

And there is a lot of info on the Light Illusion website, as you linked to.

Cheers,

Steve