Jake Blackstone
Forum Replies Created
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Baselight works with JL Cooper. As a matter of fact, Baselight was originally used with it, before they had developed Blackboard.I’m sure you had seen Blackboard 2 in action and you have to admit, it’s different level of sophistication from a DaVinci panel. It’s completely future- proof.
The same goes for Lustre. The first panel they had supported was Tangent CP-100. It still works just fine. It is feature equal operationally to it’s own panel. FilmMaster version 2011 now works with MC Color. And so is Smoke. I’m sure upcoming Smoke’s grading software will work with it as well. I’m sure I’m forgetting some too… -
Some strong opinions expressed here:-)
So, I’ll try to give you my perspective.
I have yet to encounter a client, that would base their opinion of the colorist, based on the control panel he or she is using.
After using MC Color for the last 3 months, I can say without hesitation, that it’s an awful experience. Same goes for the Wave. Said that, I see no reason, why those two panels couldn’t be more productive. It all depends on the programming the interface and not the hardware. Either one could be quite useful, if BM deemed it necessary. They don’t, because they feel they NEED to sell their panels. Good illustration of this point is the lack of support for the Tangent Element. It has all the needed hardware and software at the great price point to drive Resolve. So now we have a Gillette Razor Blades or printer cartridges situation. Just buy our expensive panel (Razor blades, cartridges) and will give you the software (razor, printer) for free.
So, for time being, I’ll stick with MC Color and hope, that, at some point, Tangent Element will be supported… -
The point of my post wasn’t a promotion for FilmMaster, but to highlight the best practices of some of competitors. No less, than FilmLight admitted that much and pretty much copied caching scheme of the FilmMmaster for the Baselight in Version 4.3. As they say, copying can be a form of flattery. So, I’m hoping that BM is not above flattery as well, when it needs to be…
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I’m pretty much given up on trying to use cache render. I can confirm slow render times, as well as inability of the system to “remember” rendered cache. To add to an insult, every time you try to use cache, Resolve renders a new cache, without deleting your old cache. So, after a while your cache folder gets really big, which you need to periodically clean up. Also, a simple grade bypass also forces a new cache render for that event, why? Moreover, even after getting all events rendered to cache, some events just refuse to play in real time no matter what. With Filmmaster I can just export rendered cache at the end of session. There is no need to perform a new render again, very efficient…
I can’t see implementation of any other type of cache, other than DPX. It’s very efficient and it’s sequence based, which makes it ideally suitable for using as an intermediate cache codec. I also would like to see cached debayered RAW material, as well as application of NR. This way we could work with full resolution Red files in real time with no need for RR and with NR with no real time speed penalties. -
Baby steps Mike, baby steps:-)
Right now I’ll settle for keyframing of HSL curves or copy grades to multiple events… -
Blackmagic now provides support on cracked software too? 🙂
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That’s correct. None of curves allow for dynamic keyframing.
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300 hours is more like it.
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Great, I’ll give it a twirl!
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Consumer monitors can’t do 24P, only 24 psf. Panny wants you to buy the Pro version:-)
Also, you can’t really use Plasma monitor for DCP deliverable grading.