Jack Jones
Forum Replies Created
-
RE: Vladimir Kucherov
Just a reminder that 3D isn’t possible on the Mac version currently. Lack of slots for GPUs. Should have just made it for Windows!
-
Alternatively… Is it possible to do the following;
On Channel 1 is Edit 1 and Monitor 1
On Channel 2 is Edit 2 and Monitor 2Is it possible to do Monitor 2 takes Edit 1*????
*Possibly by doing Mon 2 takes SDI Out from Channel 1
Any help would be nice, I’m planning on giving BMD a call early next week for some numbers etc.
Jack
-
It’s simply about ROI. Return on Investment.
I don’t see myself generating £25-30k of cash outside of my living costs to justify spending on the full panel yet. If I was planning on doing that I’d get a lease purchase on a Baselight or Film Master. Plus I already have the Tangent Wave which’ll suffice until I decide whether Resolve OS X is the way forward.
I fully expect other companies, such as Digital Vision and Film Light (they sort of are already), to follow suit with ‘offline grading solutions’ for low cost, before people head into the online grading suite to conform it, watch it back with proper monitoring and adjust the project file where necessary.
-
Would be interesting to try it out once the new era of DaVinci begins.
The models on the site are clearly for two different pieces of software, ‘Octane Render’ and and of the ‘Accelware’ programs. The laptop version also looks to be for ‘Octane Render.’
Therefore I’m guessing that compatibility is only with those specific bits of software. Would be nice to think otherwise but lets be a little realistic in thinking nothing comes for free!
-
Can’t remember where I saw the quote from BMD (possibly from Walter) but the answer was a clear no.
Minimum requirements sort of look like this so far*;
– BMD DaVinci Software
– Intel Mac Pro with nVidia card (GTX 285 is recommended so far)
– Grade Controller (currently only Tangent Wave or DaVinci Panels work – Othe panels expected to be compatible)
– BMD I/O Card (Decklink HD Extreme – Other I/O expected to be compatible)
– Grade Monitor (Search the forums but recommended models include FSI, Cinetal, Panasonic Pro Series)
– Waveform Monitor (Suggest BMD Ultrascope with a PC, or something like a Tektronix)All in all, I estimate the minimum** rig to cost in the region of £9,000. That is an absolute bargain!
Obviously you’ll be wanting to add a fast RAID system to that, or integrate it into a fiber network, as well as maybe getting the full BMD controller, multiple graphics cards and correctly controlling the conditions of your studio. I believe ~£17k~£20k gets you something very client friendly.
Personally? I’m looking at using two machines, one as an encoding/assisting machine and one as the main suite… Unless Apple give me some more PCIe Slots and a few USB3 holes that is!!
*These are my speculated specifications based on the press releases and Walter Biscardi’s information he gathered when speaking to Grant Petty of BMD. Purely speculation. Please correct me on any mistakes you feel I might have made.
**Very minimum specs for a broadcast capable suite, from the information available. Assuming ~£1k software, ~£2k Mac Pro, ~£1k controller, ~£1k I/O card, ~£3k grade monitor, ~£1k waveform monitor. -
I’m imagining it to have similar performance with CUDA as Premiere CS5… Which is pretty amazing!
That said, for feature-length 4k RED I’d rather just debayer in advance to DPX instead of breaking down the timeline into 20 minute segments. That might not be an issue either for DaVinci OS X, I’ll have to do a test run. Stability is important to me in a client environment, allows me to just work without having to keep explaining why I’m doing a workaround to achieve what they want!
I like Color’s workflow for RED, once you’ve got it sussed out then it works perfectly everytime. I’m pretty techie workflow and system wise so I’m sure I’d get a stabile enough technique pretty quickly.
Still, having to use two systems because Mac Pro’s don’t have enough slots will be a pain. Maybe the encoding/assisting machine will just end up being MCR-based and operated remotely when web-encoding or prepping sequences to DPX or otherwise. Might not be the worst idea… Would unclutter the Op suite nicely.
-
Tell me about it!
I need room for my Matrox MXO2, Matrox MAX card (useful separate as you can encode and monitor at the same time), Fiber Card and then the two graphics cards. That’s already 5 slots!
I’m also after a RED Rocket for Debayering to DPX in advance… It’ll really depend on how close to realtime DaVinci OS X is when it comes to RED or whether it would just be better to go down the DPX route. So that would be a 6th slot.
Maybe I just have to look at running two Mac Pros. One for prepping and encoding (Rocket, MAX, Fiber, ATi) and one for DaVinci OS X (2x nVidia GTX 285 and MXO2/Decklink)… Although I need to get fiber in the DaVinci to make the RAIDshare actually useful! Maybe it’ll have to be a GT 120 and a GTX285??
Anyone have any solutions in mind? Apple to add more slots plus new nVidia options!
-
Fantastic to get an answer for the team themselves!
Cheers Luke!
-
I noticed this too, anyone able to expand?
I think this forum is going to start to get quite busy, very quickly!
-
Only going by the web information available (couldn’t make NAB this year) then I would say the minimum requirements appear to be roughly as follows;
DeckLink HD Extreme 3D.
Tangent Wave, DaVinci 2k/Resolve Panels (More support to be added soon).
Intel MacPro with OS X 10.6.
CUDA enabled nVidia graphics card such as the GTX 285 or Quadro.As for 3D – Looks like it! It’s in the current package as standard and most of the promo stuff mentions Avatar was graded on it.
I’ve already got some big plans for it, especially as it’s so expandable, and hopefully there will be some newer, more powerful nVidia CUDA cards for Mac Pros in time for DaVinci OS X’s big summer launch!
Disclaimer: I’m only clawing together early release rumours and information.