Baselight vs Davinci Resolve

Bledar Cili Nov 12, 2016

  1. Hi everyone. I want to ask you which soft is the best in film industry for color grading Baselight or Davinci.I have been using Davinci for 5 years and now I'm interested to work with Baselight as well.
    Thank you in advance.
  2. ford -vs- chev
    fender -vs- gibson
    pc -vs- mac

    the list can go on for quite a while...

    the cost of getting into Baselight enough to get familar with it's tools is very low now (MC +BLE =$1,300 i think) and then you can make your own evaluation based on your workflows, clients and needed ROI
    Ken Sirulnick likes this.
  3. To me, the choice of software is as personal as anything else in life. Some prefer one, while some prefer another. Personally, I base the question of the choice of software not on a "which soft is the best in film industry for color grading", but mostly on the project itself. I take a look at the project before me and then I decide which grading platform I am going to use for that particular project. It's like painter who chooses to use acrylics or oils, pencil, graphite or mixed media. The choices are there and, so far, still aplenty- Lutsre, Mistika, Baselight, Resolve, Nucoda, with some are better at some thing, than the others...
    Jason Myres likes this.
  4. Dermot put it really well, there really isn't a simple answer to this question.

    Like he also suggested download the trial and see if it works for you and your workflow. I would also recommend giving Nucoda a try too. DV offers a free trial and it's the full blown application.

    In my experience Baselight and Nucoda both take a much more finessed and precise approach to color grading. Both companies want to offer the best color grading tools and put color and the colorist first. I would say both have color tools that are very forward thinking and work really well.

    There will be things you will miss from Resolve but you will also gain many things that don't exist in Resolve. Bang for the buck Resolve is unbeatable.

    One thing is for sure any experience using these other platforms will teach you even more about the craft and color grading.
    Jason Myres likes this.
  5. I used a Baselight 4 for almost 2 years, and I've used Resolve for the past 4 or so years. My feeling is each can do things the other can't, Baselight is slightly more costly, and I can work more quickly overall on Resolve. In truth, there's at least an 80% overlap between the two. Cost no object, I would be sorely tempted to get Baselight X and a Blackboard 2 control surface.

    But in the real world, cost is always an object. The other thing to consider is that non-technical clients know the word daVinci, and if they know you're using that, they tend to nod and believe you know what you're doing. With anything else, there's a danger of having to constantly tell them, "but this is just as good as Brand X," no matter what you do. The exception would be very experienced colorists who have longstanding relationships with clients who trust them.
  6. Baselight is more than slightly more expensive. I would say Nucoda is slightly more expensive depending on the DVO package.

    Baselight more than any other application has a lot of bells and whistles. The developers have clearly put a lot of time into finessing the details and refining their product. Solid color tools and color science, all kinds of trackers (all of which have been great in the time that I have spent with them) and amazing shapes.

    The whole "DaVinci" thing can go other ways too. Thanks to BM's "Worlds best ..." marketing strategy Resolve is now a household name. So a lot of clients assume that's what everybody uses it. That usually also means that your client is also a colorist as they are somewhat familiar with the software and will happily tell you how to use it :)

    So I would say if you can not only deliver but can exceed their expectations and can prove that in a session quickly. Then you can usually use whatever platform suites you. Unless they want a .drp back ...
    Dermot Shane likes this.
  7. Actually, a full blown Linux Resolve, including all hardware and the panel is only slightly less, than BaselightOne with the Slate. The difference definitely is less than $10k...

  8. True. If you are comparing single GPU systems. Your panel comparison is a little off too :), but I'm sure you are going to say you'll take a customizable Slate over a Resolve Panel. In that case I'l take the BB2 !
  9. No, I'll take a single GPU BaselightOne over a 4 GPU Resolve, as Baselight's cache is the great equalizer. You can easily do 4k jobs on a single GPU Baselight One, no sweat. And, personally, I would choose Slate over BB2 or for this matter any other panel in existence. But that just me:p
    Sergio Vazquez and Dermot Shane like this.
  10. From a exec perspective I think the various programs have a lot more to do with how they work in different workflows, then which is better.

    So which system to focus on next I would ponder more of where you would like to be in the future(this list is from the limited projects I've interacted with):
    Lustre & Mistika: teams in thier A game and that often work in the same room, where grading is often merged with the compositing workflow
    Baselight: often in high end to mid-tier workflows, often compositing is fully integrated with nuke with grading in baselight (in it's various forms). "emotionally" I prefer baselight but it just so happens it's not what is used in the teams I'm with
    Davinci: More when grading is what happens at the "end" of a project and least team oriented as far as compositing integration
    Adobe: kind of a wierd mix, I see high end "minimalist" teams and and also low end projects with this suite, with davinci sometimes on the tail
    Szilard Totszegi likes this.

  11. This side is now somewhat evolved with Fusion integration and Generations?
  12. I think your absolutly right, in that BM saw that they needed to have grading integrated with editorial so they have been either buying or integrating those functions with davinci.

    But in baselight, you can bring baselight nodes into nuke so thier is a clean workflow between "pure" baselight and baselight integrated into the compositing stream. I haven't gotten into the integration effort on fusion/davinci recently, but I imagine it will be tough getting that integration together- i currently hate integrating masks between compositing team and colorist in davinci? As an aside, from a business perspective, if I was a davinci expert I'd probably learn fusion in detail before I learned baselight.

    Aside from me not having bought into the editorial integration that BM is pushing, I also really really dislike the editorial integration from the foundry - I have waisted some serious money on projects attempting both(i pretty much hate nuke studio). There are a few companies I think have done a great job on editorial integration: autodesk, adobe, and SGO (mistika). But cost wise for me with my focus primarily on cinematic VR, adobe editorial integration (videoediting/coloring/compositing/dialogediting) has been working really well .
  13. Not to derail this thread but I've heard from a number of people now that they really dislike Nuke Studio so I'm really curious to know where it's coming up short?
  14. Jason Myres

    Jason Myres Moderator


    That comment caught me by surprise, too. All due respect to Patrick, who is a much more advanced Nuke user than I am, but to me Nuke Studio/ Hiero is nothing short of amazing. It conforms an EDL/AAF/XML just as well as Resolve, handles camera media along with heavy formats like DPX, EXR, and R3D flawlessly, AND exports to every form of ProRes on OS X, Windows, and Linux. I don't know of any other editor (...or application for that matter) that claim that.

    I did have an Adobe CC subscription for quite a while, mostly for my own projects in Premiere and Photoshop, but once Nuke Non-Commercial was released, I reduced my CC to Photoshop only, along with any plans for ever upgrading my Media Composer again.

    My only wish list items would be more support for timeline effects, and the ability to remap a few key commands, but other than that, Nuke Studio/ Hiero is hands down my favorite editor ever.
  15. As someone totally not qualified to advise on this I'm going to follow the internet norm and steam in with my ignorance.

    From the point of view of a cinematographer trying to see what I can get from my material I'm now finding that I can get something that I like the look of far faster with Prelight than I can with Resolve.

    There's something about the way the Baselight grade that is just easy to get a greta look, not that it's hard with Resolve but I've been beta resting Prelight for a good few months now and I find that it's become my go to for checking material and giving directors a quick guide to what an image can look like after a simple grade.
    Rainer Bueltert likes this.
  16. Jason Myres

    Jason Myres Moderator

    That's interesting, Geoff. Quick question.... In Prelight, are you primarily using Log tools or Lift/Gamma/Gain to set-up your initial grades?

  17. It is a great software package and nothing surpasses it in terms of publishing shots for vfx, and managing a vfx job (apart from flame maybe), but it has been plagued with some serious lag issues. Such issues that a few people (including our company) have been saying on the foundrys mailing list that their support fees need to be refunded cause support is not being supportive. This is supposed to change with the new version soon but as with anything I don't think anyone should hold their breath. It takes a long time to fix these things. Back to the grading programs, it would be really cool to try mistika. I've been offered to take it for a spin but i'm not sure I can pay for it if I like it xD. Looks like a great system though!
    Patrick Faith likes this.

  18. I'm using Film Grade so log
  19. Thank you for you help , can i find BaseLight training for strart????
    I make some test with BaseLight , i think is like new BMV:)
  20. Well, as someone who probably IS qualified to comment on this, I agree with you. I have always found that there's something about the way Baselight mixes color that is somehow a bit more sophisticated and proper than just about all of the other systems, and I too find it very easy to get to a representative base grade using essentially a Film Grade strip and little else. This is likely due to both the color management (best in the business) and the grading tools themselves, but the result is that I can achieve a more satisfying result with Baselight, and I can do it more quickly and with less experimentation than any other system. I can't really explain it, but for me (not necessarily for everyone else) it is absolutely true.

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