[Arthur Puig]

Kona 3 support please!!!!

[Arthur Puig]

Post houses…that’s good if you own it, or a creative person owns it, most are run by sales people that they couldn’t care less about the job, or the quality of it, they don’t spend time and money like we do to get better results, clients think because they have free cappuccino or a kitchen they’re getting the deal, when in reality they’re getting screwed. I’ve seen 4:4:4 material in tape downconverted into 4:2:2, and back to tape as 4:4:4, all because they don’t care to buy fast raids, and the client never knows, anyways, I’m off topic now…

Setup, I use what they recommend, I got a 2009 Mac Pro octo 2.66 with 6 GB ram, I use 5 internal 2 TB raid at raid 0 (I sacrified my internal DVD writer for another hard drive), a GTX250 and GeForce 120, Decklink 3D +, no Red Rocket yet, we’ll see if I get enough RED jobs and with the new 4000 cards I might be able to gain one more slot and then yeah, I’ll get one.

[Arthur Puig]

It’s funny, I thought you were the arrogant one! : )

I’m going to be honest, I’d rather you stay with Color than DaVInci, less competition for us.
Having say that, I don’t know if I have 10 reasons, but this place I work they own Apple Color for low budget projects, and they’re not buying DaVinci (they’re very cheap, and they think they are all the same)
But I have a DaVinci myslef, so I took one reel in 2K DPX to try it out, I was able to finish the grading three times faster than in Color (I’m using the Waves panel), not only that, I was able to play full 2K (2048 X 1556) DPX, with 3 power windows in real time, and sound. I cannot do that even on some six figure systems, and I didn’t try more power windows, but I think I could have RT performance with even more.

In Color in 2K plays maybe at 15 fps with no sound.

Now sound makes a huge difference in a color corrected session with a client, because they take sound and picture as a whole, whereas if it’s just picture, they get confused about what they want, that’s my experience.

Then I rendered them out, as 2K DPXs, and as ProRes HQ, it took 10 minutes for DPX (reel was 10 minute long), and 8 minutes for ProRes, Color took 45 minutes to render.

But again, if you render overnight maybe it’s not important how long it takes as long as it is done in the morning, but when I compared what I color timed with the DaVinci against what I did in Color, DaVinci looks so much better, skin tones look phenomenal, it looked like a real movie, there’s a depth in Color that exceeds any other platform I’ve seen so far, and I’ve seen many.

And I realized something I never paid attention to, I think the common knowledge in color correction is that all color programs do the same, you throw red, green, they all can do it, but, for example, guitars can play all the same chords, however, a Gibson Les Paul will sound different than Fender Stratocaster, so is the same with Color software, how it interprets and add the color is an art into the software itself, and I feel for the first time, that this tool can help transform into reality what I want the picture to look like, I was never 100 % satisfied, and now I’m a DaVinci converted advocate.

[Arthur Puig]

If you like Color so much, why don’t you got and post in the Color forum then.

It seems to me you’re trying to convince yourself that Color is a great software, but the reality of it, is that it sucks.

Before Resolve came in the market for Mac, yes, it was a viable solution since there was nothing in the mid color market, but know the game has changed. I think in my opinion Resolve is way too cheap now, it should have been marketed between $3K and $5K

[Arthur Puig]

I’d rather do that modifying the RGB channels individually (lift RGB, Gamma RGB, and Gain RGB)
As a balancing tool the secondary color curve I found it awful, it was useful in Final Touch 2.5, when you could alter those curves inside a vinette, then after 2.7 don’t know what happened and no matter what it affects the whole shot.
As an overall I’d rather use it say if the reds are too electric, then I can desat them.
But if you ever played with tools like Scratch or Pablo vectors are the way to go for secondary quick and clean color isolation.
And Resolve will have those available in next version for people without the DaVInci panels, as presets in the menu, along with whites and black isolation presets.

[Arthur Puig]

I gotta tell you, this whole argument is absolutely ridiculous, Resolve is a dream come true, it’s funny that since now is $995 people compare it with Color, but honestly, not even Scratch is as good as Resolve is, and Scratch is around $50K.
I just want to get up to speed to delete Color from my system.

[Arthur Puig]

Don’t waste your money, wait until the next term for the intermediate course, this one is pretty basic, and the professor doesn’t seem to know much, or not giving enough info.

[Arthur Puig]

[jake blackstone] “First of all, you would never want to use 6 vector HUE to fix the color temperature of the shot. This shows basic lack of understanding the theory of color grading.”

Dude, are you on drugs or what???

Who said that vectors are for primaries?

Besides, that function is coming for people WITHOUT a DaVinci panel, you can activate it in the menu bar.

[Arthur Puig]

I believe that the new update coming will have something similar, which is presets for color isolation, like Vectors in Scratch, I’ve seen it working and it seems very clean, but you can also tune it to avoid color bleeding, and you can use it inside a power windows, which you can’t in Color, there it affects the whole frame.

[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.