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Cheap suites
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I think it really is the matter how you think.
Smoke would be your tool but pricing is different and i bet speed and some other factors also come to play.
For me it seems that resolve is so fast that you have plenty of time to do grain, vfx etc.
And multiple times in the row.It all comes to how you think your pipeline.
It is like with red camera. Camera by itself does not make good result. You need people that make it
make good results using all other tools ing good balance like how you illuminate your set etc.
So it is more balancing your components in the exact amount to make your mix work.So it really depends what is your objective and how you get your results.
It is like mobile phones now. You can send email by them but you do not have to like it.
Some say it is the only way to do it now days.—
Margus
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Hmm interesting. Some of the things you mentioned might be changing with 8. Multi-layer, overlays (from the tidbits on this forum I gathered some alpha channel’s supported), de-noise is supported, with alpha you could add a grain layer that’s pre-made back in.
So they’re making gains in those shortcomings, for sure.
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I think even if you have compositing features like in a Pablo for example, which are not that many BTW, you still go out for most things, there’s not one box that can do everything. Scratch now includes a “Export to Nuke” function.
I like the workflow of color timing in Resolve, and then going to Smoke instead of going back to Final Cut, and from there if there is any adjustment I need to do as far as color I can do it in Smoke, as well as some dirt removal, de-graining and what not, but from there is easier and cleaner to get the final product out.
And now that we can do multi-track and XML export, is going to be even better, Smoke works really well with FCP XML
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I had a Baseligh four on demo for three months, I like it it is a great machine and yes it has some nice features like a multi layer timeline. I demoed all the other machines too. I am aware of the sales pitch, I know Film-Master has the “Best” noise reduction tools… Did I mention we can reduce noise???…. I did not see a huge difference between Resolve and Lustre unless you were sitting in an all Autodesk shop. If you want a universal tool maybe Smoke or Mistika is what you should look at. Resolve fills my needs for doing Color Grading and BMD is adding features and function. I make and grade mostly Film and Resolve is a great fast tool for doing feature film work.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma.
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And so here is another way to look at it, if I go and get a “bespoke” single seat solution and blow my whole “single man” shop budget on it is that better than a “Cheap” solution?
Say I go and get a gassed up Resolve, even a Linux version, and that is $100K and then I go and setup several seats of Revival, a seat of OSX Smoke and a Arri Relativity suite plus plugins and LightSpace and monitoring for all of those. Am I better off? Can I maybe get some other employees to do work on other suites and have more overall work done than with a single seat?
Or lets ask the question is Resolve only a “Bespoke” solution when Stefan is sitting in front of it with Jim Cameron at Co3? And if that is the case isn’t it really the talent behind the gear anyway at the end of the day?
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma.
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[Rick Turners] “From my understanding, Company 3, Technicolor and EFilm utilize Resolve to grade the highest grossing films in the world. “
Small correction: eFilm is using a customized version of Lustre, and Technicolor uses Resolve, Baselight, and (some) old daVinci 2K’s, depending on which facility.It is true that Resolve has been used on some major, heavyweight blockbusters of the past couple of years — [I]Avatar[/I] being perhaps the most famous (at Modern Videofilm). But in that case, all the conforming was done on Quantel iQ.
For day to day D.I. or broadcast work, Resolve, Baselight, Pablo, Nucoda, Lustre, and Scratch can all work. It’s more a question of choosing the system that makes the most business sense and can also blend in with your existing workflow.
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I think Co3 has done all of the Pirates films on Resolve and many others, this is not necessarily to place it above other solutions. I really like Baselight I think it is a great machine but I also think Filmlight’s business model is going to change because they, like DaVinci, are a software company. The 2K is still probably the most widely used color corrector in the world, and not just for dailies attached to a spirit. Tech, Deluxe, Postworks, Co3 etc. etc all still run five or six spirit rooms for dailies and nonlinear suites too. You can run disk to disk on a 2K with clipsters or a clipster and a SR deck. So I think one cannot minimize the weight of DaVinci machines both old and new on the “industry” and with BMD pouring in new features and a new business model I think this will drive the current market for grading, again.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma.
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Anyone, that wants to join a professional level should forget the word “No”. The answer to all producer’s requests should always be “Yes”. For example:
Can you remove the error in cadence?
Can you retime the shot and does your system uses motion estimation?
Can you remove an errant subject in the shot?
Can you add some grain, dirt, scratches?
Can you, yes, noise reduce, remove dirt and scratches?
Can you import AAF and grade a full Avid project, with all layers intact, while preserving transfer modes and then do a proper roundtrip back to Avid?
Can your system access Avid’s Unity and concurrently grade the project with an Avid?
Can you composite a green screen or use material with an external matte?
Can you add a lens flare or edge light leak or simulate and end of film roll?
Can you play side by side or do a split screen of multiple versions or with grades or effects applied and with grades or effects removed?
Can you hide all shots, except the ones selected in the grading group?
Can you choose multiple shots, display them on one screen and grade them all at the same time? No, I don’t mean to paste grade to multiple shots?
Can you have multiple deliverable formats of the project and switch between them on the same timeline?
This list can go on for a loooong time. But you get the idea… Jumping back and forth between different pieces of software to accomplish simple requests is not productive and not very professional. Resolve is color grading system and so is, Baselight, FilmMaster and others .But one can easily see, that BL, FM and others are much more, because today’s producers expecting and demanding more…
Company 3 example is getting old. Just because they use, seemingly, the same software, doesn’t mean, that anyone with Resolve can do the same. It’s a huge company with huge resources, with many talented people contributing to the finished product… -
I don’t want to fix allot of bad footage I am a snob, so be it. I want to make films (even ones I shoot) look as they are intended, uuuggghhhh, film and film timing is still how it should be done, if you f*ck up it is on you, not we will fix it in some post chain for nothing and blah blah…
I can weld too, working for nothing fixing bad work is no way forward.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 3X GTX285 20Tb SAS Wave Panel Panny 11UK SDI Plasma.
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Must be nice being you, where you only work with perfectly shot material. I, on the other hand, have to deal with issues every day. Those stupid producers always asking me to fix things. Next time I’ll just tell them to shoot better;-)
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