“I have absolutely no doubt the DaVinci panels are superb, but, realisitically (sic), aren’t they a bit overpriced?”
Without intentionally dashing out to step on toes… not really, no, they aren’t. They used to be a LOT more than that. And precision milled out of solid aircraft aluminium, with balls more spherical than competition billiards. Realistically, colorgrade should be precision work… disagree? At certain budget levels, sure, go for the plastic. But if its a prime-time series with a million-dollar budget for color alone… better get the tools for that, but you know, choose an appropriate level. If you’re working on a short 210 event-something with a budget of $5K, a couple of hours of white balancing doesn’t require unlimited tiers of node-based power windows with planar three-dimensional matte tracking… which you might otherwise find useful for coping with a 750-or-so event episode in 8 hours or less for a dramatic prime-time series… or a three x14-hour day session to finish the latest Saatchi&Saatchi ‘Chanel :30’ with a room full of agency-types (but those days are probably gone).
Just a guy eking out a living on the edge of the tundra shoveling snow… yours truly,
jPo
PS If anybody would be interested in trading a set of 3 Tangent 200 series panels (T/S, B/K and K) for a new Resolve panel (say, someone developing the driver software for the Tangents ;-)), I’m game. I know the Resolve panel won’t drive Apple COLOR, but frankly I’d either just order another Wave or swap the one I’ve got back and forth between systems. Horses for courses… the distilled wisdom of the CML.
You mean “Old Ben”? Ben Kenobi?