Welcome to our community

Be a part of something great, join today!

Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Avid Symphony 6 Crossgrade

Job - I agree that relational color correction has a lot of value in quick turnaround - but that really is a metadata play that "could" be applied to any AVX type architecture if Media Composer were developed to be a platform. Relational should be available based on any relationship you want to give it, and change as needed when needed. The relational color correction today was based on "tape" sources as well as a handful of other columns like clip name, but could have easily been extended to Scene, Slate, location, KeyKode prefix, etc. And today, with file-based formats, some of that source linking needs to be improved (same for multicam). BaseLight has a view in its application where all the shots from "same source" pop up like a 9 split etc. where they can all be corrected as a whole while looking at them, or individually while in the same view. If AVX handed top level clip metadata for the sequence, there is reason to think it could be done via the AVX interface as well. Then there is Universal Mastering, and you were generous to give that a .5. :)

Michael
 
RT gradeing with Baselight inside MC;

http://www.youtube.com/watch?v=ipqfoGMMJ-0

add in fast fast 3D comps inside MC with Digital Fusion, and the Avid news really came from outside Avid...

Both of these will be running in DS as well, and that's resoultion indipendant - has had RED 4K project presets for a few years now
 
MichaelP said:
The demo I saw looked really good, and having the ability to share the "grade" with both on set and full base light makes it a very flexible and high quality tool for managing the look from capture to finish. One of the few things remaining is the ability to output to a grading monitor or set of external scopes which is being worked on. For now, the viewer is the screen you're working on. But the demo I saw, it was very responsive and of course the amount of control you have is great... finally in Media Composer! ;)

I am sure other vendors will look to the same AVX plug-in to offer similar functionality, but for $995 it's a no-brainer. How many here would buy this rather than the crossgrade to a Symphony for the same money? Makes for an interesting discussion.

Michael
Click to expand...
External monitoring a big key for me. Hopefully they manage to get that in.
 
quick question: can symphony do everything what MC does or is it totally different?
best wishes an kind regards,
martin
 
Steve Sherrick said:
External monitoring a big key for me. Hopefully they manage to get that in.
Click to expand...

Having to use that tiny uncalibrated viewer window and no scopes goes against the two primary things I've been told about CC. Namely, you need to use a calibrated monitor and you should use scopes.
 
I agree with MichaelP. Performance on the Baselight plugin was VERY impressive. Sure it was a demo, but those smart folks at Filmlight understand a thing or two about performance Look forward to test driving it, and yes external monitoring is a must; But in terms of workflow to get away from round-tripping (via different sets of media) on the grade will be worth every penny, and save huge amounts of time and head scratching...
 
Peter Moretti said:
Having to use that tiny uncalibrated viewer window and no scopes goes against the two primary things I've been told about CC. Namely, you need to use a calibrated monitor and you should use scopes.
Click to expand...
Not sure what I can say (probably not much) but you will probably be happy. :-)
 
You must log in or register to reply here.
Back
Top