Color Controller options

[Joseph Owens]

“I have absolutely no doubt the DaVinci panels are superb, but, realisitically (sic), aren’t they a bit overpriced?”

Without intentionally dashing out to step on toes… not really, no, they aren’t. They used to be a LOT more than that. And precision milled out of solid aircraft aluminium, with balls more spherical than competition billiards. Realistically, colorgrade should be precision work… disagree? At certain budget levels, sure, go for the plastic. But if its a prime-time series with a million-dollar budget for color alone… better get the tools for that, but you know, choose an appropriate level. If you’re working on a short 210 event-something with a budget of $5K, a couple of hours of white balancing doesn’t require unlimited tiers of node-based power windows with planar three-dimensional matte tracking… which you might otherwise find useful for coping with a 750-or-so event episode in 8 hours or less for a dramatic prime-time series… or a three x14-hour day session to finish the latest Saatchi&Saatchi ‘Chanel :30’ with a room full of agency-types (but those days are probably gone).

Just a guy eking out a living on the edge of the tundra shoveling snow… yours truly,

jPo

PS If anybody would be interested in trading a set of 3 Tangent 200 series panels (T/S, B/K and K) for a new Resolve panel (say, someone developing the driver software for the Tangents ;-)), I’m game. I know the Resolve panel won’t drive Apple COLOR, but frankly I’d either just order another Wave or swap the one I’ve got back and forth between systems. Horses for courses… the distilled wisdom of the CML.

You mean “Old Ben”? Ben Kenobi?

[Arthur Puig]

You’re both probably right, however, I also think it’s a matter of how you see it also. Yes, they used to be way more expensive, but this business model changed drastically, in which BM plays a huge part in the process, ironically.

In case of a telecine bay, it’s a different kind of animal, one which I believe with new digital technology is surely seeing a reduction in workload.

For the small boutique guy obviously is out of the question, and I thank BM for the option to use the Wave. But even for mid size to large they’re not that keen of spending that money, I cannot reveal the name of the company where I work, but when I pitched the idea of spending 30K on panels they look at me like if I was on drugs, and this place owns a Pablo with theater room in the middle of Hollywood.

Wish there would be something in between, I wouldn’t mind spending 15k on the three tangents if I could use them.

[Simon Astbury]

Arthur just to re-iterate what other posters have said, the panels are made from expensive materials in small numbers, that’s why they are expensive. As to getting the sales to cover the cost, let me turn that around, how happy would a client be sitting in your room, paying $200 per hour with you grading their precious show on a plastic panel which can’t access a great many of the features of the software. I don’t know about you but in an average month I turn over more than enough to buy a Resolve panel.

I think we need to keep a perspective on things, hardware is not cheap. You are paying for a very high spec piece of kit and therefore it is not cheap. I’m sure BM have cut their margin to the bone on the panels. I was told by a manufacturer who knew about these things, that the old 2k panels cost $30k to make. I wouldn’t mind betting that the new Resolve panels costs at least $20k to make.

[Craig Harris]

I agree.
Although I can’t afford the panel yet, my plan is to invest in one for my company.

Asking a question about how realistic the price of a DaVinci panel is like asking how realistic the price for a Porsche or Ferreri is. Can you get from point A to point B with other vehicles? Yes. But not as fast and in with as much style.

You get what you pay for.

[Arthur Puig]

[Simon Astbury] “how happy would a client be sitting in your room, paying $200 per hour with you grading their precious show on a plastic panel which can’t access a great many of the features of the software”

If you do that so that clients can be happier you’re wasting your money. Clients couldn’t care less about what panels you’re using, let’s be realistic, most don’t even care what software you’re using. And as far as functions only available on the DaVInci panels, the ones that mattered are available now in the menu.
Not that the panels aren’t great, I do think they are overpriced, but its’ Blackmagic, I’m afraid of shelling out 30K when next year could be going for half price.

And regarding the Porsce and Ferrari, I think they are cheesy cars, far from classy, all they became now is a symbol for people trying to show off or pretend status, new money mostly, and in desperate need of approval.

[Darin Wooldridge]

I haven’t got much time on the new panels. At first touch they did not have the heavy nice feeling I’m familiar with .. I’m still in love with the OG davinci resolve panels. They just feel better.
I’m trying to get some of my engineer friends to port the old panels to the mac version.
Just a dream

Now that being said, if i had the cash and could afford the new panels I would have them. I’m sure with time they would grow on me.. The difference between the wave panels is not even worth talking about.. No brainer. The wave helps but I can say from experience it’s not even close to using the real tools.

For my home hobby set up the wave works, barely. For a pro set up that I expect to bill at between 400 and 1000 per hour I would say you must spend the cash for the panels and the linex version.

I have been trying to get black magic to let me demo the panels to do a real review on the product and show the advantages of using the tools as they were designed to use .
No luck.

I will continue to use the old resolve panels at the office and the wave, g13 and wacom at the home..

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=….

[Jack Tunnicliffe]

I bit the bullet and ordered the big panels for $29,000. I’ve just completed 10 episodes of a new tv series on a Wave panel and now realize what I’ve been missing. I had the opportunity to spend a couple of days on the big panels and everything is there on the surface. I’m so tired of navigating to the top (new 7.1 software) then going down into nodes or windows or worse yet down to qualify keys. With the big panels hit a button to add a node with a circular window attached and save two steps. There are tons of time saving advantages. It seems to take me longer to grade a show in Davinci with a Wave controller than it did in Color with Cooper controls and I know I’m mousing way too much. Anyway, I’ll report again a month down the road but for now this is where I’m headed.

Jack Tunnicliffe
Java Post

[Vladimir Kucherov]

I agree, the Wave on Color was definitely very efficient. Resolve’s use of it is getting better but still not quite there.

I would say that for everyone who can’t afford the Resolve Panels yet, defintely get the G20 keypad. You get 20 some always there keys for things you need ALL the time. It’s definitely a must.

Jack, if you at all feel like it I’d love to see a detailed review of the Resolve panels at some point, maybe even with shiny pictures?

[Ola Haldor voll]

You son of a.. richman. 🙂 Would love to see photos or video of your setup in action!

[Jack Tunnicliffe]

Haha! Yes, a lot of money, but after you’ve used them there’s no going back I’m afraid. I will definitely post some photos or video when installation is complete.

Jack Tunnicliffe
Java Post Production