Jay Moffat
Forum Replies Created
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Dan at BM got us up and running:
For my system, Windows 7, 64-bit using the ATI 4650, we installed this ATI driver:
https://support.amd.com/us/gpudownload/windows/10-2/Pages/radeonaiw_vista64.aspx?&lang=EnglishWe also needed to set the Windows 7 Theme to the standard Aero Theme, all works perfectly now.
J
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I have a ATI Radeon HD 4650 on a Asus P7P55D-E PRO (Intel P55) motherboard, same issue, will try reinstalling the drivers and report back..
J
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[Joakim Ziegler] “nd please, spare me the “out here in the real world” thing. It’s a bit insulting,”
[Joakim Ziegler] “Whining about your customers not valuing you highly enough is hardly the right answer.”
I may have missed it, but I’m pretty sure I’ve not used or implied the phrase ‘out in the real world”, and I’m certainly not whining about my customers or anything else for that matter, this was I thought a mature conversation not an attack. I can only speak for the UK market, and I have alone this week been asked three times what system I use, it’s Wednesday as I type this, so I think I’m at least qualified to report what’s going on over here.
The last time I engage in this sort of discussion I think.
All best
J
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Joakim, apologies for being blunt, and please take this in the spirit of discussion, but I think you’re missing the point, this discussion has little to do with the evolution of skills, talent and customer service, although these are key things in keeping your clients, I think many of us are referring to building a client base on the basis of using Resolve.
The perception of the tools we use in the post production is a key point in securing work in this industry and it would be naive to think otherwise, free sends the wrong signals. There is already a post on this board (Cheap Suites) describing a situation of a post house installing ‘cheap’ grading stations, based on Resolve, which are basically no less powerful or functional than their existing “Expensive Suites” this we all know is ludicrous, but there you go, the erosion has already begun, and this time it’s by the very industry itself.
The more potential clients think of Resolve as cheap, the less it will be taken seriously, the less relevant our investments become and the less work I envisage Resolve users will get, particularly in the UK market, where the market is unfortunately largely driven by brand perception rather than any technical understanding (Baselight vs Resolve or Lustre vs Quantal etc etc), I get asked all the time which system I use, by people who wouldn’t know the difference if they saw it, but know the name of the one they think is the superior system), we are all susceptible to the same thing when we go shopping for a stereo or whatever, I think it’s human nature. So, this may not effect you where you’re based, but it effects many of us over here in the UK and I suspect elsewhere.
This hedonistic nonsense about power to the people is all very well when you’re living at your mum’s house or have a full time job and playing with Resolve in your spare time, but when it’s how you earn your living in a very competitive market in one of the three largest post production industries in the world, things become a little more serious.
I can only congratulate Black Magic on their continuing work on the application, but let’s hope it’s not for nothing.
J
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I’ve just tried multiple combinations, my Trackballs and ring’s sensitivities can be altered, but not the top row of of 6 knobs…grrr
J
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I’m not sure there is any doubt that opening up the market is good for those who want to become colorists, but what this is really about is investment by pro-users into a product. I’ve invested so-far close to £30,000 into my grading suite, and this figure will no doubt rise, and my argument is, if the actions of a developer who sells the software undermines it’s professional standing within the industry, this spells disaster for my long term business, there is no hedonistic upside to this particular argument.
As mentioned above by two of us in the UK market, many clients in the UK are very particular about systems they want their projects to be graded on, and pay close attention to the status of these systems within the industry. Baselight is fast becoming the standard here, sure it’s a great system, but so is DaVinci and so is Lustre, the system a project ends up on, in an ideal world, should be based on the colorist you end up choosing, not by some arbitrary idea that one system will produce a better result than another, and therefor choose the colorist based on a system, but this is not an ideal world…
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I have to agree with you Arthur, despite the good intentions of free software, professionals who have invested, in let’s say a base-price professionally speced DaVinci suite, at £20,000-£25,000 for a machine, I/O, auxiliary software and hardware (scopes, Cubix, RedRocket, studio setup etc), 3rd Party Control Surface, Monitor, RAID, LUT management, on going storage costs, now the cost looks less free, add another £20,000 for the DaVinci control surface if you wanted to go that way…However, despite this type of investment, it won’t necessarily be the perception of prospective clients, “Oh you grade with DaVinci, isn’t that a free application now?”. On the up side, talent counts for a lot, so if you network enough and forge relationships with filmmakers then this nonsense will hopefully be less of an issue, but for newcomers, it’s going to be a problem…
Don’t get me wrong, it has opened the doors of a profession previously closed to so many people, but it has also produced some serious problems within the industry… I have had 3 projects this year come from an audio post house which now offers very low rate grading on an unspecified system with terrible results. The problem here is, the filmmaker’s budget is now drained, so by the time they have come to me asking for a favour in the way of a reduced rate, got the grade they want, I’ve not made what could be called a fair rate, as its been eaten up by what can only be called as chancers…
If you’re thinking I’m being melodramatic, in London, brand counts for a lot in Post Production, the term Baselight or DaVinci grade gets handed around as if it makes a difference on the final result…The worrying thing is, already in the last week I have encountered a skewed perception of DaVinci.. I was in a meeting for a film which is estimated at around £4million, which is a decent budget over here for an independent film by all accounts, and I was demoing the system for them and they asked me, “is DaVinci still used for films, I thought Baselight was the way to go”..my jaw kind of dropped, but there you go.
I hope DaVinci do not erode the brand I have invested a whole lot of cash in, I’m fully behind them, and they have done amazing things, and their support is outstanding, so keep on keeping on, but don’t stuff us at the last hurdle, as unfortunately the Post Production world is a fickle beast run a mock by ignorance…
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Further on this, the reset buttons are contextual on the Eclipse Midnight, so they reset whatever page you’re on, saturation, zoom, red lift etc…
These encoders though, seem to have only one speed, which makes them a bit twitchy, hopefully that will be looked at…the sensitivity settings seem to only apply to the tracks balls and rings…
J
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Yep, but I’m looking for a rack mount solution, not a tower…
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I just got an email response from them, so they seem to be around.. It’s not the screen I’m concerned about I have one ready, it’s yet another machine taking up room and making a racket, I’m after a super quiet rack-mount which will fit into one of AKA Edit desk slots…
J