DaVinci Resolve Changes the Game

Every now and then, in our world of post-production, a product comes along that makes us change the way we look at things. ProTools, for example, changed the world of audio engineering by bringing the ability to edit and mix audio to anyone who could afford a desktop computer and their low-cost software. The same can be said of Final Cut Pro’s affect on the world of nonlinear editing.

Now, big changes are happening in the world of colour grading, with the recent announcement of DaVinci Resolve 7.0 from Blackmagic Design.

DaVinci Resolve from Blackmagic Design is now available on both the Mac and Linux platforms. DaVinci Resolve 7.0 software is fully featured and is virtually identical across both platforms. It is a GPU-driven application and uses NVidia’s native CUDA programming language. As such, factors such image processing, image resolution and the realtime processing of nodes scale up dramatically as more GPU processors are configured.

To understand the various configurations available on the Mac and Linux platforms better, let’s start with the Linux-based configurations.

The base bundle on the Linux platform consists of the DaVinci Resolve Linux license and a DaVinci Resolve Control Surface. This is available at US49,900. To build a complete system, a Linux server or multiple infiniband-connected servers are configured. GPU hardware, storage, displays and other hardware options add to make up a complete DaVInci Resolve system.

There are a number of pre-qualified hardware configurations available to Linux users and these are integrated by and supplied through certified Blackmagic Design DaVinci resellers. These hardware configurations relate mainly to the number of GPU processors that are configured.

The entry-level hardware configuration consists an Nvidia Quadra FX 3800 to drive the GUI display, an additional Nvidia Quadra FX 5800 dedicated for GPU processing and a Blackmagic Decklink HD Extreme for video IO and display. All these hardware sit in a single Linux server.

In DaVinci Resolve-speak, this is referred to as a ‘1-GPU’ configuration, with the Nvidia Quadra FX 5800 card used to perform all the graphics processing demanded by the Resolve software. This includes image scaling, primary/secondary colour correction, tracking, blurs and other image processes. In general, the greater the number of GPUs configured, the more simultaneous processes at larger resolutions the system is capable of processing.

The entry-level, 1-GPU Linux systems, for example, are ideal for SD or HD users, or for users with occasional 2k requirements. Users can expect anywhere from 6 to 9 realtime nodes at HD resolution. The numbers vary according to the processes applied on each node. Primary color correction does not take as much GPU computing power as blurs, for example.

The show does not stop when the GPU capability is exceeded. DaVinci Resolve will still play back as best it can, just not at full frame-rate. At this point, the user has a couple of choices if he wants to maintain the full frame-rate. He can either render the scene or turn on a feature called ‘proxy on-the-fly’, which plays back the scene at half-resolution.

Subsequent configurations use Nvidia’s S4 2200 processors. Each S4 unit is a 1U rackmount device with 4 Nvidia Quadra FX 5800 cards working in parallel.

The beauty of a DaVinci Resolve system is its’ ability to scale up. A Resolve system may consist of several Linux servers and Nvidia S4 processors. The servers are interconnected via infiniband and act as one, unified and very powerful system.

A single Nvidia S4 processor may be configured and this is referred to as a ‘4-GPU’ system. Multiple Nvidia S4s may be configured to create an ‘8-GPU’ or ’16-GPU’ system.

Commercial grading facilities working in HD or 2k resolution, for example, may most likely find the 4GPU system as their model of choice, with the ability to process 16 to 20 nodes at 2k resolution in realtime. Larger Commercial or feature film grading facilities with more demanding work or who require multiple nodes of 4k in realtime may go for the 8 or 16-GPU systems.

Stereoscopic models consist of additional inter-connected servers and Nvidia S4 processors, giving rise to the 4-GPU-3D, 8-GPU-3D or 16-GPU-3D systems. Remember, the top stereoscopic movies in the world were graded on Resolve, including recent blockbusters such as Avatar and Alice in Wonderland.

It’s important to note that it’s both easy and cost effective to scale up from one DaVinci Resolve model to another. This is achieved by adding the additional servers, GPUs or storage models that are required. As every DaVinci Resolve software is fully featured, there is no additional software upgrade required as one moves from one hardware configuration to another.

One important hardware option available in the Linux family of Resolve products is called the Co-Processor Server, which is also connected via Infiniband. This option allows Resolve users to work with digital media formats in realtime. Currently, a single Co-processor server delivers half-resolution premium-quality r3d material in realtime. In the future, the Co-Processor server will also help accelerate other digital formats such as Arriraw. Facilities that handle RED material often will benefit greatly from the Co-Processor Server.

Pricing of these Linux-based systems, therefore, vary according to the number of servers and GPUs, the amount of storage and with other hardware options such as the Co-Processor Server.

Every Resolve Control Surface that is delivered comes with a Resolve Mac license, meaning that any user who purchases a Linux system also has a Resolve Mac license.

The Resolve Control Surface may be purchased on it’s own for US$29,995 and, as mentioned, this includes a Resolve Mac license. In order to build a turnkey Resolve Mac system, users need to configure a Mac Pro with a recommended 6GB of RAM and a Decklink HD Extreme card for video IO and display. 2 graphic cards are required, an Nvidia GeForce GT120 to drive the GUI display and an Nvidia GeForce GTX285 or Quadra FX 4800 dedicated for graphics processing.

The performance delivered from a DaVinvi Resolve Mac is similar to that of a 1-GPU system configured on the Linux version, which is approximately from 6 to 9 realtime nodes at HD resolution. DaVinci Resolve for Mac can also play 4k r3d files natively on the timeline.

Finally, users can also purchase the Resolve for Mac software-only for US$995. There are a variety of ways that a user may utilize this software.

Without a panel configured, the software can be used as an assist station to a main DaVInci Resolve grading suite, performing tasks such as imports, exports, conform, previews and renders.

Install the software on a 17” MacBook Pro, and you have a mobile station that a colorist can use to prepare shots on the move. A laptop-based system may also be used by Directors or DOPs as an on-set grading tool, allowing them to experiment with looks on the set and then transferring that information on to the colorist for their grading session.

A third-party grading panel, such as the Tangent Wave may also be added to create a complete grading system on a MacPro or a 17” MacBook Pro.

Multiple DaVinci Resolve systems may be configured with a shared database, where projects are centrally saved and stored. With many post-production facilities employing a shared storage infrastructure, this allows for an elegant project grading management workflow.

The workflow potential is interesting, to say the least. DaVinci Resolve software can be used on a laptop for onset grading, the information passed on to the facility where a Mac-based DaVinci Resolve is used for conform, preparation work or previews, while the main Linux suite is used for the client-attended grading session. All this done on the same software, from set to master.

The process of color grading used to belong to only an exclusive few with the budgets to invest in expensive systems. With its’ new strategy for the DaVinci Resolve product, Blackmagic Design has opened up a world of new opportunities by providing a professional set of colorists tools to independent film-makers, boutique post production houses and production companies. Incorporating the colour grading process in their production and post-production pipelines is now a reality.

---------------------------------------

Author: Patrick de Silva (pat@mediav.com.sg)