Digital Garden acquires second DaVinci Resolve

Tokyo’s Digital Garden expands colour correction services with second DaVinci Resolve.

Blackmagic DaVinci Resolve Digital Garden

Beijing – Digital Garden Inc., one of Japan’s premier post production companies, recently installed a second DaVinci Resolve system, which will be used to support its growing color correction services. Digital Garden also installed Blackmagic Design UltraScope for waveform monitoring in the company’s new post production studio. 
Digital Garden is a Tokyo-based post-production house offering video and audio editing, CG work and grading services.  As part of their color correction services, Digital Garden has a creative partnership with Company 3. Through this partnership, Digital Garden offers “Remote Telecine” services, giving clients an opportunity to have their projects graded by colorists at Company 3 offices around the United States, as well as in the new Tokyo color correction suites. With the addition of the new DaVinci Resolve suite, Digital Garden’s clients have increased onsite access to Company 3 colorists, as well as Tokyo based artists.  
“The new DaVinci Resolve suite lets our clients communicate better with the colorists, allowing them to understand the customers’ requirements better. This makes it easier for the colorists to grade, and also we can save time for transferring data for the remote telecine.” said Shinichi Futagami, a colorist and online editor at Digital Garden.
Jamie OBradovich was the most recent Company 3 colorist who graded in Japan as part of the partnership.  After working as a CG artist and online editor, he became a colorist and has worked on a number of commercials for clients such as BMW, Google, Twitter and AT&T. 
Because Jamie was mentored by an English colorist, his grading style has more of a European style, which is a bit lower contrast and has more range. He explained the difference between his grading style and Japanese commercials: “I see a lot of different things being here and watching Japanese television. The way people perceive bright lights is quite different here. A lot of the time their definition of warm may differ from ours. But that is what’s nice about color. It’s creative and subjective. I am excited to be in the market and to get work in it. I think they are looking for an opinion or aesthetic that has more of a filmic look, and coming from Company 3 with all the film work we have done, we can provide a different perspective on color correction.
“A lot of tools in DaVinci Resolve allow you to be creative and work, without having to think too hard about how you are going to do something. You can easily use the control panel, watch the screen and work.  I like having a node based color corrector instead of using layers.  The tracker is my favorite, it’s very fast. As I used to be an editor, I’ve used many applications, but their motion trackers did not work as well as the one in DaVinci Resolve. DaVinci Resolve is great because the software and hardware have been designed together. “ said Jamie.
The new DaVinci Resolve system is Windows based, including four Titan cards installed in Digital Garden’s Supermicro hardware, along with DDN storage. “DaVinci Resolve is not really a turn key system, so you can decide what you want your system to be like. We wanted to create a system with the highest performance. It’s fast and stable.” said Futagami.
“We sometimes use DaVinci Resolve for non grading tasks, such as file conversion. It supports a wide range of formats, and the speed of conversion is fast. I’ve used both online editing systems and DaVinci Resolve, and I can say DaVinci Resolve’s software architecture is simpler and easier to use. I sometimes use DaVinci Resolve only for conforming even though I don’t have to grade as it is so easy to use. The software design is very well done. The features we need are placed in exactly the right spot,” Futagami concluded.

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