![]() Each approach has its advantages and disadvantages. Alternatively, you can send some kind of reference to the original clips – an EDL, AAF or XML file. You can ‘bake in’ the edit – basically rendering out a single movie file which will, obviously, contain all your project’s edits, transitions, effects and so on. There are usually two different approaches to transferring a project from your NLE of choice to the grading suite. The Conform page is really where the guts of EDL management come into play. For this to work, all clips must have unique names, even if they are in unique directories as EDLs don’t give directory information. There are a variety of ways of doing this, from just doing it manually, or by using the information in an EDL to select clips from a directory or sub-directories. Clips available in these directories must be added to the Media Pool in order to use them in the grade. The Media Storage panel details directories where you can access or store clips. The second, Browse, page is all about filing. A project can have any number of sessions associated with it. You can save custom configurations and create projects in the database. Unsurprisingly, it’s here where you set up all the technical details for your projects, resolution, frame rate and so on. Once you are logged in you have access to a variety of pages, selected by buttons running along the bottom of the screen. Projects are all stored in a common database, so this is where you control who gets access to what, vital if have several staff working on the same film and don’t want them to overwrite each other’s work, with the concomitant punch ups at the coffee machine. Resolve is a full, multi-user grading solution, so the first screen you get to is the log-in screen. You can also add one of Blackmagic’s Decklink HD Extreme 3D cards and grade in 3D! The software uses a USB dongle as its key, so you could keep a version on your laptop to try out ideas and then move to the full grading suite for the meat of the work. If you have a MacBook Pro, you can use Resolve in its purely software form, but installing on a Mac Pro gives you the option of adding a secondary graphics card (Blackmagic recommend a couple) – Resolve will then use the GPU on that card for its calculations. Blackmagic’s CEO, Grant Petty’s mission to reduce the cost of post-production seemed to have gone to his head. You can see why a $995 ( Jigsaw list price is £635 plus VAT), software only version of Resolve, running on a Mac, with an improved User Interface and support for all the Apple CODECs, like ProRes, caused a bit of a stir. You would be looking at over $800,000 for a 16 GPU system. ![]() Resolve was the first DaVinci colour corrector to use off-the-shelf graphics processing units (GPUs – basically the chips on your computer’s graphics card) rather than racks and racks of dedicated hardware, and that $200 grand bought you just a single GPU. When Blackmagic Design bought DaVinci last year, the cheapest Resolve system was about $200,000. The 2007 performed the task half as fast as the 2000 machine, even though its specification had improved in line with Moore’s Law. The most famous test of this was done in 2008, when the same tasks were performed in Office 2000, on a PC from 2000, and in Office 2007 on a PC from 2007. Basically, every generation of software bloats out enough to easily compensate for the increases in processing power. Moore’s law is pretty well known, but there is a less well known, compensating law – called the Great Moore’s Law Compensator (TGMLC). Though I was a computer nerd, it was a place I studiously avoided. Interestingly the human operators were deemed expendable in the event of a fire, the doors locked automatically and the computer room was flooded with an inert gas, snuffing out the fire, and the lives of any unfortunate person who couldn’t get to the single cupboard of breathing apparatus. ![]() My mobile phone now has processing capabilities that would embarrass the mainframe I used at University, and that filled the top floor of a tower block, needed its own air-conditioning unit and three people just to keep it running. Gordon was talking about transistors, but the rough upshot is that, for a given price, computers get twice as powerful about every two years. Resolve’s Color WindowIn 1965, Intel co-founder Gordon Moore made an observation that, a few years later, became known as Moore’s Law.
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