7.1 Merry Christmas Everyone

[Margus Voll]

Sounds like you have a plan 🙂

—

Margus

https://iconstudios.eu

[Robbie Carman]

Darin I’ve been rocking the dual 285 set up in the cubix it’s unbelievable! Glad I took the risk and got the cubix with the hope this was going to happen. Rohit says it’s possible to get a rocket in there too so I’m going to try to squeeze the one have on extended loan in there tomorrow

Robbie Carman
—————-
Colorist and Author
Check out my new Books:
Video Made on a Mac
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From Still To Motion

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[Darin Wooldridge]

Great news Robbie. What model cubic did you go with? I’ve been begging for more gpu power. the rack mount gpu monster looks like fun. How many fps or you getting with 4k dpx frames?

Darin Wooldridge
Colorist / Technical Strategist
818-653-3918-cell
dwooldridge@mac.com
check me out at https://www.facebook.com/pages/Davinci-Resolve-Colorist/117363011609028?ref=….

[Jake Blackstone]

Just curious, how much of 4k work are you expecting?

[Darin Wooldridge]

Hey Jake,

I’m working in 4k today.. For the web. lol 🙂 High resolution digital film killers are here. It will be a normal request in the near future.

4K is the new HD.

Darin Wooldridge
Colorist / Technical Strategist
818-653-3918-cell
dwooldridge@mac.com
check me out at https://www.facebook.com/pages/Davinci-Resolve-Colorist/117363011609028?ref=….

[Jake Blackstone]

Exactly my point-4k for web. And they will be showing it on the web where and how? Any client, given a choice, would chose the highest possible resolution, needed or not. Higher resolution must be better, right? But the moment it is explained to them, that it takes more time and it does cost more to produce, all of a sudden, none of those clients NEED 4k anymore. In my opinion, there is zero need to grade in 4k. ZERO… Not least of those reasons is the lack of displaying option. But if you do get one of those demanding clients, that read Jannard pronouncements, that “4k is the only way anything should be produced today, otherwise it’s a big mistake and you will be sorry you didn’t listen”, then you always have an option of just rendering your project in 4k:-)

[Jake Blackstone]

Exactly my point-4k for web. And they will be showing it on the web where and how? Any client, given a choice, would chose the highest possible resolution, needed or not. Higher resolution must be better, right? But the moment it is explained to them, that it takes more time and it does cost more to produce, all of a sudden, none of those clients NEED 4k anymore. In my opinion, there is zero need to grade in 4k. ZERO… Not least of those reasons is the lack of displaying option. But if you do get one of those demanding clients, that enjoys reading Jannard pronouncements, that “4k is the only way anything should be produced today, otherwise it’s a big mistake and you will be sorry you didn’t listen”, then you always have an option of just rendering your project in 4k:-)

[Darin Wooldridge]

Jake,

I guess you think 4k is overkill? 😉 Can I do it? Yes.. Do I charge more? Yes.

I’m a huge fan of matching the native file resolution through the post process.
Same as source, as much as possible! I try to only scale for final deliverables.
The few shots delivered to me as 4k dpx frames were for specific reasons. I agree with the editor and don’t feel he is being demanding at all. Especially if they pay the rate.

P.s.
The reasons for the 4k selects:
Pre timing VFX work / comps
huge blow ups to be done during the online via the color corrected files.

The majority of the project is a 2k pipeline only linking to the 4k files for render.

Not a big fan of the smoke and mirrors workflows.
Padding with ones and zeros to make a 4k file at the back end is not something I will ever do.
OK, Maybe on a big budget film to match in some red and a pinch of alexa a dash of 5d with a truck load of 4k scans. The big guns use it all and expect the latest and greatest.
4k now 10k soon. Seems like yesterday I was mastering to a D1. Like you, I thought that was as good as is gets. Then came HD and many said it would never make it. Now we have true 4k video cameras, 4k monitors, 4k projectors.

SD, HD, 2k, 4k, scope, flat, film, data, tape.. bring it on. The bigger the better. 🙂

Darin Wooldridge
Colorist / Technical Strategist
818-653-3918-cell
dwooldridge@mac.com
check me out at https://www.facebook.com/pages/Davinci-Resolve-Colorist/117363011609028?ref=….

[Jake Blackstone]

When you’re grading on your Mac Resolve, what are you looking at? I doubt you have a 4k XRD projector projector. Regardless, Resolve on a Mac with Decklink can’t even display anything higher, than 2k. Which means, the best you can do is 2k grading. If you want to RENDER occasional 4k for VFX at the back end, that’s fine. But you’re GRADING and monitoring at 2k at best. So, what’s all the talk about grading at 4k or 10k and beyond?:-) Seriously, you lost me at 4k for web delivery…

[Joseph Owens]

Some people need to have their amplifiers marked with “11”.

Seriously, even if the numbers are going up, the quality is still going down.

jPo

You mean “Old Ben”? Ben Kenobi?