Resolve on a Mac, first impressions

[jake blackstone]

Couple of Resolve beta testers started posting their first impressions on Creative Cow. For the last three weeks I too had been running it, but I kept it quiet, as I wasn't clear on the protocol. So, now it's finally in the open and if anyone has any questions on the subject, fire away and I'll try to answer.

 

[michael zaletel]

Hi Jake:

Please tell us what you think about it? How stable is it overall? How quick/snappy is the UI and interaction.

-michael zaletel

 

[Steve Das]

Jake..think some of us here are in the windows camp..moreover we
are not colorists but primarily shooters who more dabble in color
correction when doing our own/friend's stuff or want to make changes to
things that a director had a post house color a different way than
we liked. Mostly use of AE and assorted plugins or use of color
on someone's Mac.

So in your opinion would Resolve offer things to us that
those programs do not...in terms of speed..ease of use etc. that we should
make the jump to a Mac dedicated only for Resolve since a windows
version looks to be far off in the future at this time.

 

[Ketch Rossi]

Couple of Resolve beta testers started posting their first impressions on Creative Cow. For the last three weeks I too had been running it, but I kept it quiet, as I wasn't clear on the protocol. So, now it's finally in the open and if anyone has any questions on the subject, fire away and I'll try to answer.

Nice chatting with you Jake,

look forward in hearing your tough on Resolve, as we spoked, I will definitely get it as my Color solution to my Project working with Adobe Premiere and AE.

I'll look you up to assist me setting up my system.. there is if you will be up to

 

[jake blackstone]

Hi Jake:

Please tell us what you think about it? How stable is it overall? How quick/snappy is the UI and interaction.

-michael zaletel

Hi Mike.
Because Resolve is still in beta, I feel it would be unfair to offer a full assessment of the software stability, before it's fully ready. Said that, I find Resolve in it's present form to be very stable and extremely responsive. There is no lag whatsoever, while using it with the Wave control surface. The Deckling SDI display of masks and power windows has little delay, but it's not objectionable.

 

[jake blackstone]

Nice chatting with you Jake,

look forward in hearing your tough on Resolve, as we spoked, I will definitely get it as my Color solution to my Project working with Adobe Premiere and AE.

I'll look you up to assist me setting up my system.. there is if you will be up to

Same here Ketch. I'm looking forward to hopefully seeing you soon.

 

[Jeff Kilgroe]

Hi Jake, can you comment on the color accuracy and consistency through the Decklink when using Resolve? That seems to be some elusive info I haven't been able to get much feedback on.

I know you beta guys are still under NDA of sorts, so don't want to get you in trouble if you can't comment much yet.

 

[jake blackstone]

Jake..think some of us here are in the windows camp..moreover we
are not colorists but primarily shooters who more dabble in color
correction when doing our own/friend's stuff or want to make changes to
things that a director had a post house color a different way than
we liked. Mostly use of AE and assorted plugins or use of color
on someone's Mac.

So in your opinion would Resolve offer things to us that
those programs do not...in terms of speed..ease of use etc. that we should
make the jump to a Mac dedicated only for Resolve since a windows
version looks to be far off in the future at this time.

Hi Steve.
I was Windows platform user exclusively until Resolve. All high end color grading software was either on Windows or Linux, so there was no reason for me to move to Mac. That was until Resolve on a Mac. For me personally, the choice of Resolve is a no brainer. The software can be quite useful for beginners and infrequent users, just like yourself. It's quite simple to operate, but it has loads of great features, that high end users will find indispensable. For me personally, being able to choose Prores as a render choice at the end of the grading session was an eye opener

 

[jake blackstone]

Hi Jake, can you comment on the color accuracy and consistency through the Decklink when using Resolve? That seems to be some elusive info I haven't been able to get much feedback on.

I know you beta guys are still under NDA of sorts, so don't want to get you in trouble if you can't comment much yet.

Actually, there is no NDA. Nevertheless, I kept it quite, until I saw postings of some beta testers on Creative Cow
And, yes, I'm not ready to discuss your question, but it is only because I haven't done extensive enough testing myself. So far I'm mostly preoccupied with the operational side of the software.
And while we're on the subject of color fidelity, I'm unhappy to report, that built in Cinepace application support (monitor profiling and 3D Cube Builder) are no longer there. It had been replaced by the standard prebuilt LUT dialog. Resolve comes with a few prebuilt LUTs, but will have to wait for the shipping version to see, if more will be included. Also, I hear, that built in support for another color science application may be in the offing...

 

[Joe Walker]

Can you comment on the major differences between Resolve and Apple Color?

 

[jake blackstone]

Can you comment on the major differences between Resolve and Apple Color?

Unfortunately I'm not really familiar with Color. But real time multiple node grading, multipoint tracker, multiple choice caching, auto Color Trace for multiple graded projects versions, multiple event versioning, group grading, Red Rocket, AAF and MFX support come to mind.

 

[RivaiC]

Jake, does it take XML ? or purely EDL ? and how does the re-conform feature works

Thanks

 

[D Fuller]

Jake, does it take XML ? or purely EDL ? and how does the re-conform feature works

And more generally, how do you get a sequence into it from Avid or Premiere?

 

[Gunleik Groven]

Unfortunately I'm not really familiar with Color. But real time multiple node grading, multipoint tracker, multiple choice caching, auto Color Trace for multiple graded projects versions, multiple event versioning, group grading, Red Rocket, AAF and MFX support come to mind.

LOL!

So would you call Resolve a Finnishing tool where you could do some basic compositing of graphics, texts and f.ex. sky replacement before you render out/play out your film/show/program?

The last step without having to go back to "something" before delivery?

 

[Hans von Sonntag]

LOL!

So would you call Resolve a Finnishing tool where you could do some basic compositing of graphics, texts and f.ex. sky replacement before you render out/play out your film/show/program?

The last step without having to go back to "something" before delivery?

I don't know anything about Resolve on the Mac yet but I know what a finishing tool must do for me:

Editing pictures AND sound, swallowing FCP XML and Avid AAF, OMF and, of course, EDL, exporting OMF and EDL, basic compositing (incl. advanced keying, match moving, etc...), basic grading, text, paint and basic sound effects.

I don't know of any grading application that can do that. They are very good at colour manipulation, they swallow timelines (picture only), some have some compositing capabilities but none of them is able to import a timeline like NLEs can do, including sound and effects, think of it like a timeline transfer from FCP via XML to Premier Pro or from Avid to FCP via Automatic Duck.

I need the complete timeline to make timing changes AFTER finishing. It's not only the client but also me who is changing hers/his mind.

IMHO, this is a good workflow I currently go:

1. Edit in FCP/Avid/Premier Pro. Use ProRes, reference QTs, everything that contains Name, Reel and TC

2. Import selected takes via EDL into the grading application. Grade off the R3Ds and export the rendered and colour corrected selected takes in a finishing application. If you want to avoid gamma shifts use DPX.

3. Import the original XML/AAF into the finishing application and reconnect to the colour corrected selected takes. Premier Pro CS5 with AE is a low budget solution for such tasks, it swallows DPX files. I use Smoke on Mac, Avid DS is an other classic finishing tool.

I'm waiting since years now hat someone comes with a tool that can do what Smoke on Mac can and which also incorporates a tricked out colour correction module. I doubt that Resolve on the Mac can do that, at least not by its specs.

Anyway, Resolve on the Mac is a new competitor on the market which is great.

Jake, how well does Resolve on the Mac collaborate with Avid and FCP? How easy can I change the timing of my project? Can I replace shots? Can I export an EDL for sound reconforming? How is archiving working?

Hans

 

[Bruce Allen]

And more generally, how do you get a sequence into it from Avid or Premiere?

DaVinci has been taking sequences from Avid for over a decade. If you can get it an EDL or better, it can do it.

Even if you have no EDL, it can detect cuts.

Bruce Allen
www.boacinema.com

 

[jake blackstone]

I don't know anything about Resolve on the Mac yet but I know what a finishing tool must do for me:

Editing pictures AND sound, swallowing FCP XML and Avid AAF, OMF and, of course, EDL, exporting OMF and EDL, basic compositing (incl. advanced keying, match moving, etc...), basic grading, text, paint and basic sound effects.

I don't know of any grading application that can do that. They are very good at colour manipulation, they swallow timelines (picture only), some have some compositing capabilities but none of them is able to import a timeline like NLEs can do, including sound and effects, think of it like a timeline transfer from FCP via XML to Premier Pro or from Avid to FCP via Automatic Duck.

I need the complete timeline to make timing changes AFTER finishing. It's not only the client but also me who is changing hers/his mind.

IMHO, this is a good workflow I currently go:

1. Edit in FCP/Avid/Premier Pro. Use ProRes, reference QTs, everything that contains Name, Reel and TC

2. Import selected takes via EDL into the grading application. Grade off the R3Ds and export the rendered and colour corrected selected takes in a finishing application. If you want to avoid gamma shifts use DPX.

3. Import the original XML/AAF into the finishing application and reconnect to the colour corrected selected takes. Premier Pro CS5 with AE is a low budget solution for such tasks, it swallows DPX files. I use Smoke on Mac, Avid DS is an other classic finishing tool.

I'm waiting since years now hat someone comes with a tool that can do what Smoke on Mac can and which also incorporates a tricked out colour correction module. I doubt that Resolve on the Mac can do that, at least not by its specs.

Anyway, Resolve on the Mac is a new competitor on the market which is great.

Jake, how well does Resolve on the Mac collaborate with Avid and FCP? How easy can I change the timing of my project? Can I replace shots? Can I export an EDL for sound reconforming? How is archiving working?

Hans

Hi Hans.
Yes, you're describing Smoke. Smoke does it all quite well. But I wouldn't want grading a feature on it, despite Smoke having two color grading modules. You'd need a control surface for that.
Anyway, EDL from FCP or Avid and AAF from Avid work fine for conforming. You can bring the offline copy or copies and play it side by side for verification. Resolve includes pretty robust editor, where you can perform basic editing functions for moving the shots, if needed, but again, I wouldn't use it for anything more, that just that.
Because Resolve is a single layer timeline device, everything needs to be collapsed into a single timeline prior to AAF or EDL export. For a multiple layer timeline capability you'll need to brake the bank and buy something much more expensive, like FilmMaster or Baselight. Yes, you can easily replace shots. And you can export EDL, not sure about AAF, but I will check. When you're talking about the timing of the project, do you mean the retiming of the shots or something else?

 

[jake blackstone]

Jake, does it take XML ? or purely EDL ? and how does the re-conform feature works

Thanks

Right now it's just EDL and AAF. I have read a report, that XML feature is the works, but it's unconfirmed. I do not know, if Peter can comment on that.
Re-conform is easy. Davinci had used, what they call, Color Trace, for a long time. It basically "traces color" by the source time code. You can have any number of edited versions, but they all connected through the master version, which includes every shot from every version. So, when you make a grade on one version, every other version gets the same grade applied automatically. Obviously, if you need to have multiple different color versions, you can disable this feature. So, for re-conform, just import the new EDL/AAF and all grades will automatically apply to the new timeline.

 

[Liam Hall]

Hey Jake,

Do you absolutely need a control surface or can you operate it with a keyboard and mouse?

 

[jake blackstone]

DaVinci has been taking sequences from Avid for over a decade. If you can get it an EDL or better, it can do it.

Even if you have no EDL, it can detect cuts.

Bruce Allen
www.boacinema.com

Yes, scene detector works very well. Another option in getting an already rendered timeline into Resolve is to use Parse/Preconform option. It will use EDL for for making cuts in the timeline. Much faster and more accurate, than scene detector.