7.1 Merry Christmas Everyone

[Darin Wooldridge]

Jake,

Your missing the point. It’s not your grading monitor resolution that is important its keeping the file as good as it can be through the entire process. Its not just for you.. 🙂 I use 2k proxies all the time and render from the original 4k file. This keeps the footprint the same as source. Not to mention I can playback and monitor at that resolution.

If the client wants and pays for 4k, he gets exactly that. I don’t care it its for imax, you tube or a vhs.
As far as my mac resolve goes. I have this gear to learn, and as a hobby. It not my day job. I use the linux resolve in a theater daily. 4k to 10k will come mark my words.
Whatever software / hardware combo has been developed to do so I will be learning it.

My first feature in 4k was in 06/07. A small film you may have heard about. Spiderman 3.
I have worked on several in the past 4 years. It’s not going away. Its just starting to gain speed.

And i will not leave your RENDER at the end comment alone.. Padding with ones and zeros at the end of the process is a HUGE waist of time.. WHY would anyone do this.

Jake I’m not sure why you have opted to become the 4k police but I am enjoying the debate.

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=….

[Darin Wooldridge]

Wow happy new year everyone…

Mr. Owens,

You seem like you could be my elder so I will try to hold back. A little.
Quality has gone down? You must get you glasses checked. The high end game is getting better every day. I was mastering to 1″ and D1 not very long ago.. A tiny 525 interlaced piece of crap image.
Maybe in the hack, bottom feeder world where everybody thinks final cut pro is the answer it has suffered.
Today we have access to much better images and yes bigger data files in an attempt to reproduce film.
The tragedy is we are loosing the film. Digital cameras have robbed us of that beautiful media.

“cant we all just get along” lol

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=….

[Robbie Carman]

[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 – sorry I didn’t respond to this sooner. Been traveling for the holidays in the snowapocolypse here on the east coast of the U.S. The cubix I got is this one:

GPU-Xpander Desktop 2 with 4 Slot 16x Upgrade and 16x Adapter and Data Cable

But I suppose you could probably just stay with the 2 Slot Double Wide if you didn’t want to put in additional cards

I too am curious about the big rackmount version but for now the unit I got with the two GTX 285s is pretty rad. My main use of the the cubix is for better stereo work as we’re getting more 3D gigs every day. At regular 2D 1080 work the system seems like I can through pretty much anything at it without ever having a problem consistently hitting 24 or 29.97 and staying there. The 3D work I’ve been testing on the two card system has been similar. It seems as though the system is intelligent enough to split the workload of the two streams evenly between each card which essentially makes it the same as each GTX working with a single 1080 stream which as you know works great.

As far as the 4k work, I thought I was going to have the time to use Rohit’s tips on getting the Rocket in the cubix before christmas but I didn’t so I will have to do that when I return to the studio latter this week. I’ll report back on FPS and general performance. Unfortunately I haven’t come across any 4k or even 2k 3D gigs to test 3D hi-rez using the cubix system. If you have some 2k or 4k 3D RED footage I could put it to the test.

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

Twitter
Blog

[John Whitcomb]

I’d listen to Darin. He’s been an uncredited additional colorist on multiple films and is prudent in updating us with his daily career moves at Technicolor. Good insider info. It’s helpful to know what render speeds are like in Resolve with his superior setup and us bottom feeders can aspire to something!

[Darin Wooldridge]

Good day everyone,

Ok, this started as a Merry Christmas post. At some point it lost focus. 🙂
I apologize for the fcp comment. I got caught in the moment and it was truly wrong.

My posts are about my personal home set up. And yes, I have and use fcp.
Working at tech is not something I mention very often.
My home resolve set up is not superior at all. Remember i am still testing on an 08 mac pro. I do this as hobby and enjoy learning every day. As you were so kind to point out I am not the lead colorist at tech nor have I ever claimed to be. My credit list has never been my focus. I am fortunate and happy to be the uncredited colorist on A title films. It keeps my family fed, housed and we have a great life.
As I was once told. “there is nothing wrong with being Robin” (Batman and Robin) 🙂
Spotlight is not my goal, longevity is.

It has been fun talking with like minded people with common goal.
I will attempt to keep my ideas and progress to myself.

I wish everyone a great new year.

NOTE: The comments above are strictly mine, and may not necessarily
represent those of my employers.

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=….

[Sascha Haber]

What does “home video mastering colorist” stand for ?

…and happy new year 🙂

A slice of color…

DaVinci 7.0.3
Dual Xeon 2,4
OSX 10.6.5RAM 6 GB
RAID 8TB intern
Extern 6TB
GTX 285 / GT 120
WAVE

[Darin Wooldridge]

Good Day Sascha,

My duties while employed as the “home video mastering” colorist are as follows:

Create the data or tape for bluray and home video delivery
(usually 2 or 3 hd cam sr masters.) 2.40:1, 1.78:1, 1.33:1

This can be done old school from an IP, or from a scanned film element.
On bigger budget films that required a film out i would use the di files.
Converting them from log film space to rec709 lin. During this pass we trim for color approval with the dp / director / studio executives.

NOTE: The comments above are strictly mine, and may not necessarily
represent those of my employers.

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=….

[Sascha Haber]

Ahhh…thanks for explaining.
yeah, that makes a lot sense, I just didnt know there is an extra title for it.
I just had the pleasure to call those actions as the last step for “The good Doctor”
We are still in the process of getting it right from Arri adjusted LOG outputs set to P3 , going to a proper LIN master for the Blu.
Good thing you are into the technical stuff too, respect.

A slice of color…

DaVinci 7.0.3 OSX 10.6.5
Dual Xeon 2,4 RAM 6 GB
RAID0 8TB eSata 6TB
GTX 285 / GT 120
Extreme 3D+ WAVE