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Overrated, overcomplicated and non removable.
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Rasmus, I’m guessing your not solely a colorist, which is why I understand your opinion, for someone who wants to just quickly pop a look onto footage, MBLs great. But I cant imagine a top client coming into session where the tool in use for grading is MBL. For a colorist, who grades, doesn’t do FX, offline editing, online editing, etc etc.. Resolves sometimes roundabout GUI is worth what the tools offer. But with the XML workflow, its hard to complain.. (ok, I woud love it if speed changes translated)
Keep in mind Resolve is used on many of todays blockbuster movies. (probably at least 50% of them..? considering CO3s use as well as several other major facilities + all of the international freelance rockstars..)
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Glad I could help!
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As we have seen so many times in the past, somebody or some group or some engineering team takes it into their head to support a productivity-busting software and announce that this is the way it’s going to be and anyone who challenges it is a fool.
To answer to the complaint is as easy as it has been for nearly 40 years: let people choose. Remember Rank-Cintel?
As usual, though, egos on the part of the Davinci engineers have gotten in the way.
Please note that a software that is overcomplicated does not mean that is hard to understand.
I am myself looking to switch away. Thank you -
Rasmus,
With all due respect, it appears that you posted a comment about a year ago on a COW forum that states you are new to “this editing thing”. Your apparent low level knowledge of this industry may be a factor in your opinion of Resolve. As advised above, please do some research and spend a little more than a weekend evaluating these professional tools before posting.
Perry Trest
POSTDIGITAL, Inc.MacPro 8-core 2.8Ghz
8GB RAM
Slot 1 = GT120
Slot 2 = Quadro 4000
Slot 3 = DeckLink SDI
Slot 4 = Nitris DX
Internal 6TB 4-Drive software RAID-0
Tangent Wave -
Like Ola pointed out before, you can choose what ever you like and others can choose also.
Just go to on site demo and see how long stuff takes to complete lets say 30 sec tv spot,
and then you see it on the system you think seems better to you. This is the starting point in this business i think. You have to see what gives you better results faster and then go for it.There are many other systems out there and they are more complicated, more costly etc.
You just have to choose what you need in business sense, usability to your needs and abilities.Mostly that i see is people use bullet on mac book pro and see as this is all there is to it and how it should be done.
Just go and look around on different systems and get the idea of different systems so it is
eazyer for you to compare.For instance i do not get this fcpx to avid switch stuff. For me it seems stupid. 🙂 I personally hate avid from the old days when the workflow was slow and picture quality was bad etc. I still do not trust them in that sense, but that does not mean they have not improved all systems. I just do not like them but i also do not have good point of reference now so i can not say never ever. I see that the problem lays in my experience and what i think of stuff.
My point is just go and explore the world and see if there is “something better”. Maybe there is, maybe there is not. It is up to you. Nobody can not tell you how do do it. You have to explore and see the most suitable way for you.
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Margus
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I have worked in Apple Color for a long period of time before coming to Resolve. It is true that it is a much easier quicker interface, especially when you use a Tangent Wave Panel. I also find the Parades scopes surprisingly more accurate than Resolve.
That said, I think Resolve gives a degree of finesse et subtlety in output compared to Apple Color that I often find surprising as well. Even on the older v7 without the denoise module the images are often far less noisy. I notice this when creating even simple shadow gradations on a grey wall for instance. Something is going on under the hood which is far more sophisticated. Combined with a simply fantastic tracker (Color was a nightmare on that front) and now the new denoising possiblity in v8, I see a whole lot to love even if the workflow and learning curve is more complicated.
I do have one or two pet peeves with Resolve, the most glaring of which is the silly way in which you have to manually manipulate this tiny little line on a sequence in the render module merely to chose your in and out points. I strikes me as a supremely inaccurate way to sort things out at the end of a very sohisticated process. The number of times I have come up short a frame or two as a result is just annoying, especially if it is the last sequence on a timeline.
Ultimately though I am very grateful for access to this application on such a reasonable cost basis.
I think you are probably a candidate for Speedgrade when Adobe comes out with their next suite of applications and that is a very honorable alternative.
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Clayton, I believe the render window problems you have is a thing of the past. When I color correct TV shows, some times the client want some of the shots, or complete scenes a bit different. Working with FCP XML roundtrip makes this no biggie.
What I do is click a clip thumbnail, MARK IN, then the last of the scene, MARK OUT. The very last frame of the clip is marked. Hit render and it will replace the old clips.
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