[John Whitcomb]

I’ve been trying to find a Mac edition Titan. Where can I find one? Or does it need to be flashed or something?

[John Whitcomb]

I wonder?

Also, is the new macbook air retina? Can it run resolve?

[John Whitcomb]

When you say malpractice I’m assuming you mean the people using the seiki/any other consumer display as a main display? Yes.. that would be ridiculous, it’s important to have a proper grading display (cinetal, dolby, fsi?). However, ironically, my client displays become what everyone wants to base things off of in the end anyway.

In fact, some of the biggest budget music videos right now are being done on a particular directors apple cinema display with his colorist coming to him to grade, its just the way this director likes to work, and I dont see the 100+ million views per video suffering because of what they graded on.

Ultimately, there is a major market for a “DaVinci Resolve” type game changer of projectors, affordable, professional, scalable etc. Maybe RED will finally release one?

[John Whitcomb]

I dont know, those $1500 4k 55″ Seiki monitors are getting a lot of attention.
A few post houses are claiming that after ISF calibration they are good enough for color work.
I’m finding that is generally true for most high end consumer products these days. (see the reduser.net thread)

Once you get into the area where even most professionals can’t tell the difference in color accuracy between 2 different displays, spending the extra $100k-200k for something that is intangible (and the client doesn’t get a sh!# about) is a hard sell. I’ve got a cinetal and a panasonic 12 series plasma and most people would rather focus on the plasma. It’s more of a real world result, and I can understand where they are coming from. (shoot, now clients are having me export videos to view on their iPads before signing off)

[John Whitcomb]

Yeah, the cheapest Sony is 50k

[John Whitcomb]

It’s clear it can up res but not that it can’t play 4k. (I could have looked harder)
Which Sony are you referring to?

[John Whitcomb]

You dont need a calibrated monitor to run resolve, but you will need the various cards.
However, if you do work without a calibrated monitor, and grade the entire movie on a non rec709 (or maybe even DCI compliant if your getting 2k scans, depending on your output), when you go to screen your movie, you likely to see something completely different. (too dark, deep red faces..nightmarish stuff). If I were you, I’d either invest fully into a proper system, monitors and all, or rent a suite.

[John Whitcomb]

Lots of speed changes and dissolves, which, now that I look at it.. is another area where things are screwing up.
I exported the speed changes and threw them back into Resolve.. However once rendered out of Resolve I’m having to manually import them.

Also, many of the clips that have red lines above them in Resolve have problems as well. Resolve seems to be automatically grouping these?

[John Whitcomb]

When I force reconnect some of the clips are completely off.
Some of the clips are short a few seconds etc etc

[John Whitcomb]

I also just tried saving an EDL from the conform page and importing that into FCP and then reconnected the source rendered media to that. Timecode errors galore. The conform inside of Resolve is perfect.. I just need to get it back over to FCP.