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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 :)

IRIDAS vs. COLOR

SpeedGrade DI 2010 is listed at USD $38,995. Not sure how a free app and a $1,000 app are being compared to a $38,995 app, Am I missing something? Why are people saying it sounds like a great price, is SpeedGrade DI lowering its price because of DaVinci?
 
Peter Chamberlain said:
We have just published on the BMD-DaVinci web site the Mac configuration guide and as it states you can build a MacPro system with a Rocket and grade r3d natively in real time (Set the Rocket decode to half res to grade your 4k r3d, full to render).
DaVinci Resolve does not limit in software the resolution to HD so you can set the timeline for 4K RGB uncompressed; of course with the limited slots in the MacPro that's a lot of image in the one GPU so you wont see real time playback in that mode. HD 4:4:4 is fine and real time.
Oh, and we do have a Stereoscopic monitoring mode on the single chassis Mac and Linux systems in V7.0 so the HD-SDI (or HDMI) can have a side-by-side or line mesh output to your 3D monitor. The 3D Linux systems can have two Rockets and also dual 444 x HD-SDI out for stereoscopic r3d with full bandwidth and color space monitoring, real time. With a second Linux chassis and GPU's you can grade 15+ nodes in each eye. Renders close to real time too.
Peter
Click to expand...

Forgive my ignorance,
but how can the number of slots for putting 2 graphic cards or 2 rockets be a limiting factor to the mac sollution, when such things as expansion chassis systems are out here for some time by now for pci-e????
Why does this makes a linux system any better. In the audio world we use a chassis for exactly the same reason , because we never get enough slots, even if you have 7 pci-e x16n there will always be the need for one more for extra dsp or extra i/o or something, at least that's what I'm dealing with most of the time, because it's just this 1 card that can make such a investment worths it's money and effort to built it.
So why exactly are we forced to have a linux system then , when with what I've always been told , that osx is a close variant of linux, can't be to far off for being able to run a color sollution.
I haven't had chats with Iridas on this side regarding there mac sollutions, but from what I know, they are able, at least as I could remember to use the mac for their di system (they remember them mentioning to get along with somehting like an hp z800 system, but I know they support the mac, and they assured I could put 2 rockets in their systems by now.
 
craigjkharris said:
Color is supported by RR for playback. However, the render times do not seem to be improved.
Click to expand...

Note the date of my posting. Color wasn't supported back then.
Also, you have something going wrong if you don't see improvement
on render.
 
Alex Hastings said:
SpeedGrade DI 2010 is listed at USD $38,995. Not sure how a free app and a $1,000 app are being compared to a $38,995 app, Am I missing something? Why are people saying it sounds like a great price, is SpeedGrade DI lowering its price because of DaVinci?
Click to expand...

I see many people wonder the same. The thing is if you configure
a color system for professional lines of work, software doesn't really
take up a big part of your budget. I know it does.. but when you
factor in the proper working environment, color-accurate monitoring
system, storage system, your serious Mac Pro, and the beverage consumed by your clients, etc, etc..

Simple math for me: a DI suite with Color, DaVinci, or Iridas they
are about the same price.
 
Nook Kim said:
I see many people wonder the same. The thing is if you configure
a color system for professional lines of work, software doesn't really
take up a big part of your budget. I know it does.. but when you
factor in the proper working environment, color-accurate monitoring
system, storage system, your serious Mac Pro, and the beverage consumed by your clients, etc, etc..

Simple math for me: a DI suite with Color, DaVinci, or Iridas they
are about the same price.
Click to expand...

Don't follow your logic, I just built a DaVinci Color grading room for $38,995 less than it would of cost me to build the comparably equipped Speedgrade DI room.
 
Alex Hastings said:
Don't follow your logic, I just built a DaVinci Color grading room for $38,995 less than it would of cost me to build the comparably equipped Speedgrade DI room.
Click to expand...

That's good for you, but my grading monitor alone costs about $30,000, my storage costs $20,000, etc..
 
Well, there are pretty good monitors from Flanders Scientific for far less.
 
Uli, those are nice, but ony if you intend to do REC.709...
 
Uli Plank said:
Well, there are pretty good monitors from Flanders Scientific for far less.
Click to expand...

If that is a grade one monitor intended for color critical work,
I will take a look. But for now I'm sticking with my Cinemage 42",
which is the absolute best reference monitor on the planet. Period.
 
NOOK, the cinemages are great indeed(got one here myself), but certainly not THE BEST.

I have heard GREAT things about the new DOLBY REFERENCE MONITORS, including that they can run you about $50,000!!! And may just be the new reference standard, time will tell.
 
Look guys I have been colour grading (NOTE COLOUR WITH A U AS IM AUSTRALIAN!) for over 20 years. Nothing beats a Sony BVM grade 1 dual link broadcast monitor on either a 4k DaVinci or my personal favourite AVID Symphony Nitris DX. I perform a "best light" transfer from RED ROCKET on a Sony BVM with appropriate Tektronix waveform monitor vectorscope straight into my Symphony. We digitize at 1:10 10bit and have the best look around. There is no software package on the market without appropriate matching hardware like DaVinci or Avid that is comparable. Everything else adds noise or other mosquito noise artifacts. In Australia a SONY BVM along side a Tektronix scope is industry standard and they DONT LIE! Final cuts PRO RES doesn't cut the mustard in OZ. I work in either 440 mbS or 880 mbS

By working this hi res you would be amazed on how far I can push vision especially Canon 5D/7D. We convert all footage to a minimum of 1:1 10bit uncompressed full HD.

But as a final thought we still have a current model Sony Bravia XBR in our main online suite as people watch all of our productions on standard LCD/Plasmas/LEDS so when we grade, we try to make the image as appeasing on both monitors.
 
funny how this thread got winded out, based on calibration monitors.

Well all the various software announced at NAB are now available including Storm. The most talked about grading tool in the industry today is Speedgrade DI. I have personally never seen it in action, so I cant chime in. But from the above thread Baselight seemed to be the tool to buy.
 
Sure was that way for us. We payed dearly for Baselight. Huge investment. Would definitely do it again with hindsight!
 
craigjkharris said:
Sorry, but are you considering the cost of the software in your estimation? If so, the Iridas suite will cost significantly more. 19-35K more.
Click to expand...

SpeedGrade XR costs 15k. It swallows all files except the typical "film" files such as DPX etc... All camera RAW files plus 10.000 others formats are supported by SpeedGrade XR. If you need to work on DPX you have to purchase SpeedGrade DI. Hardly needed in a Red workflow.

Hans
 
shashbugu said:
funny how this thread got winded out, based on calibration monitors.

Well all the various software announced at NAB are now available including Storm. The most talked about grading tool in the industry today is Speedgrade DI. I have personally never seen it in action, so I cant chime in. But from the above thread Baselight seemed to be the tool to buy.
Click to expand...

I'm an SpeedGrade user since its early days. I love it for many reasons. It is focused on grading (of course) and 3D/stereo finishing. Concerning the latter one it's probably leading the lot.

IMHO, Storm is many things but not a grading software, at least in its current state.

Comparing Filmlight's Baselight with software only products such as Color, SpeedGrade, Resolve on the Mac or Scratch is like comparing apples and oranges. And BTW, if RT is not an objective Smoke is very good at colour timing as well plus much, much more (love it).

Hans
 
Hans von Sonntag said:
Comparing Filmlight's Baselight with software only products such as Color, SpeedGrade, Resolve on the Mac or Scratch is like comparing apples and oranges. And BTW, if RT is not an objective Smoke is very good at colour timing as well plus much, much more (love it).
Click to expand...

I agree.

And I agree.
 
Just had a lengthy discussion with a representavie from Iridas dealer in my county. To say the least, it was a very pleasing discussion as I've been thinking about Iridas products for years.

FYI, I'm a long time Color user mainly grading music videos and TVC's. Although dealin with R3D files wasn't very pleasant from time to time
(ie. delayed updates, etc), as a grading tool, and only for that purpose,
I'm very fond of it.

As my needs in DI has been growing as my business grows, I had more
options I needed, but I don't want to break my bank for it. And from
the discussion I had with Iridas just conformed that it will cover
most of my needs that Color is not able to.

As this was "Irida vs. Color", thread, here's what I'd get with Speed
Grade XR:

- Audio Import
- Image Sequence Render other than just DPX
- Alpha Channel Support
- Various RAW Import other than R3D's
- 3D Grading

It's only a few pointers I listed, but these features will make some
"night-and-day" difference as I work.

Hans von Sonntag said:
If you need to work on DPX you have to purchase SpeedGrade DI.
Click to expand...

I was told that there was a work around with that, too. I could Convert DPX sequences to Cineform prior to import. So I'm considering getting the XR first
and do the upgrade when my needs for DPX grows enough.

I'm going to demo a unit in January, so I will be able to update here with deeper impression.

Best,
 
Hans von Sonntag said:
Comparing Filmlight's Baselight with software only products such as Color, SpeedGrade, Resolve on the Mac or Scratch is like comparing apples and oranges.
Hans
Click to expand...

I hate to be a stickler for facts, but any modern grading solution, with an exception of Pablo, can be installed on a standard hardware with standard OS. Yes, even Baselight. It runs on it's own proprietary version of Linux- FLOS, but the hardware is standard. It also runs on OSX. Its not that widespread or well known, but there is at least one installation in Moscow, that uses it's own built hardware, that runs Baselight, for which they just pay the license fee.
Same goes for FilmMaster (XP32 and Win7) and Lustre (XP32 and Linux). So, in a way, you do compare apples to apples. May be some apples are just a bit more expensive and delicious, than others:-)
 
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