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I use ioGates because it has an impressive array of features that allows all members of the production to log in simultaneously and even to download low-res versions of the rushes. For this, the two leaders are Frame.io and ioGates. Of course, to be truly remote you can go with cloud-based storage. This is an 8-bay storage unit that connects via Thunderbolt 3. The storage that stands out for portability, performance, and reliability is the Accusys Gamma Carry.
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Using SSDs allows for high performance – plus their weight is far less than spinning drives. In the storage department, I would go with an SSD RAID. This is an excellent, high-quality HDR grading monitor that comes with its own calibration probe. But if you have ways of transporting equipment and would like a larger monitor, there’s the ASUS PA32UCX-PK. It’s small enough to easily be carried on a plane, train, or car. It comes with its own stand and a stylish case for transportation that looks more like an artist’s portfolio case. When you first unbox, it looks like an overgrown tablet – but in reality, it’s an excellent grading monitor. When it comes to grading monitors, I recommend the ASUS PQ22UC OLED monitor. picture: Blake Jones Screen as the most important device Another thing to consider is whether your computer is powerful enough to fulfill your requirements when working on location. And even the smallest of RAID storage can be quite heavy. For example, if you need to travel by plane a large grading monitor is not the best choice. The first thing to consider is where you will be working – now and in the future – and how much equipment you can fit or carry. Here are my tips on the best tools for your remote grading setup. Practically, this meant a scramble to set yourself up for remote work. Whether by choice or forced by circumstance, many post-production and film professionals have pivoted to working from home some or all of the time. Colorist Blake Jones Setting up remote color grading office
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These are his tips and tricks on how to assemble your home grading suite. He is one of the few people who have worked with Resolve since the product was introduced. He gives classes in Basic Color Grading, Resolve Operation, Revival Operation, and even Film Scanner Operation. Furthermore, Blake is an instructor at the International Colorist Academy and has over 30 years of experience. Picture: Blake Jones One of the first users of Resolveīlake Jones has started as a colorist in Hollywood and graded such films as “2001: A Space Odyssey” and “Poltergeist” to name only a few of the numerous titles he has worked on.
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It will also feature compatibility with Tangent's Element lineup of panels, as well as their Element app, so you'll be able to expand the functionality when you outgrow the Ripple's limited feature-set.Blake Jones, an instructor at the International Colorist Academy with 30 years of experience, shares with us his tips & tricks on how to set up a professional remote color grading “office”.
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Like other Tangent panels, the Ripple will be compatible with Resolve, SpeedGrade, SCRATCH, and any other software that uses the Tangent Hub. The Ripple can live on your desk alongside a keyboard and a mouse, and be stashed away neatly when it's not in use. The other notable aspect of the Ripple is that it's extremely compact, especially by the standards of other control panels. Independent reset buttons for the balls and dials.High resolution optical pick-ups for the balls and dials.Here are the basic features of the Ripple:
While there are lower-end solutions ranging between $1000 and $2000, up until now there hasn't been something truly affordable that beginners and "occasional colorists" could use without opting for a bulky expensive panel.Īt an expected price of $350, the Tangent Ripple will be far and away the least expensive control panel on the market, and the best option for low-budget filmmakers, students, and editors looking to bolster their color correction abilities. For example, the DaVinci Resolve control surface comes in at a whopping $30K, or roughly the price of a brand new Chevrolet Impala. The only problem is that these color correction panels have traditionally been extremely expensive, and most of them still are. Like most computer-based post production tasks, color correction is done most efficiently with some sort of interactive, tactile hardware tool.
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