Simon Astbury
Forum Replies Created
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There won’t be round-tripping because there won’t be any other apps. Color is going the way of shake IMO.
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Good point Rick.
Or perhaps you will get a lot of very disappointed film grads, who can’t get a job as a Colourist. The truth is there is really no need for more than about 40 or 50 Colourists in the UK, and that includes dailies guys on TKs.That’s where the difference lies, there may be room for growth if the number of programmes being graded rises, but the majority of TV is still not graded by a Colourist in a grade suite. The market will determine how many Colourists are needed, and I can guarantee that the people with good CVs, talent and good people skills will be the ones who succeed.The problem with free software is it gives people a false impression of what they may or may not be able to do as a job. On the other hand does every owner of a photoshop license think they are a graphic designer ?
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Two months ago my company was looking at systems to replace Color as our primary system, it basically came down to Baselight or Resolve (Film master wasn’t considered due to the company’s precarious position), we went quite far down the road with Resolve (I even have a license for it). All I can say is, I am very pleased we decided to get Baselight. As Jay states, here in the UK there is a great deal of platform snobbery, and with 8 out of the top 10 facilities using Baselight, some clients feel like they’re getting short changed if they don’t grade on it. That said it is a really fantastic system, complex but with so much redundancy of process that it has given me a real shot in the arm creatively.
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Arthur just to re-iterate what other posters have said, the panels are made from expensive materials in small numbers, that’s why they are expensive. As to getting the sales to cover the cost, let me turn that around, how happy would a client be sitting in your room, paying $200 per hour with you grading their precious show on a plastic panel which can’t access a great many of the features of the software. I don’t know about you but in an average month I turn over more than enough to buy a Resolve panel.
I think we need to keep a perspective on things, hardware is not cheap. You are paying for a very high spec piece of kit and therefore it is not cheap. I’m sure BM have cut their margin to the bone on the panels. I was told by a manufacturer who knew about these things, that the old 2k panels cost $30k to make. I wouldn’t mind betting that the new Resolve panels costs at least $20k to make.
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Anyone ?
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Kim
Having used Pogle for 10 years, then re-visiting the Revolution recently I found it depressingly backward. Nothing had changed ! We have all got used to a little more bang for our buck, there are many more ‘tools’ on Color for example. The Pogle I looked at was the same Pogle (more or less) I was working on 10 years ago. The only difference was it was grading DPXs and data rather than the output from an Ursa. I would be very surprised if we saw a low cost Pogle anytime soon, unless of course they get bought by someone. AJA maybe : ). AFAIK Pandora (Pogles parent company) still seem to be stuck in the days of Post Houses with deep deep pockets. Luckily for Da Vinci they were bought by someone with the vision to bring it into a modern post environment. I don’t think Pogle seem to have that mindset. Do you remember the days of 1000s of $ just for an extra secondary ! -
@Thibault, my reply was meant for Kim. For someone who was railing against the “which is better” argument he does seem to be quite anti Resolve…
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Tangent don’t appear to support the CP-100 at all now.
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Does it run in real time yet ?
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I was running a tech evaluation on Resolve yesterday. Running off a SAN, conforming from rushes media and also notching flattened QTs at various resolutions. We had a couple of problems with EDLs not conforming properly, and audio not being brought in. Once it was working though, I was very impressed.