--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>Talk about flashing back to the linear days...
Taking it one step further -- what about dissolves and moving PIP?
Might as well just "notch" it like we did in the good old film days.
--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
> We have been playing with the daVinci roundtrip workflow. It is fraught with little issues that make it difficult to use for anything but the most straight forward projects.
>
> If you have to spend many hours prepping a sequence, and then many hours making it right on return, have you really saved anything over suffering through with Symphonies crippled feature set? So far our answer has been… No.
>
> One other place in town that is doing a lot of this workflow has their own solution. They do a video mixdown of the entire timeline, and send that and an EDL to Resolve. Talk about flashing back to the linear days...
>
> --- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@> wrote:
> >
> > The lack of any matte controls in the Symphony secondary and lack of shapes
> > are my biggest frustrations with Symphony. In some ways it's good - I rely
> > on achieving the look I want in a "primary" grade in most cases, but it's
> > very frustrating in the things that I compromise on because the benefit
> > from breaking out of CC to create AniMatte shapes and a "secondary" grade
> > is not worth the effort it will take.
> >
> > We've got the DaVinci license and extra GPU on the strength of being able
> > to use it on a lower-budget six episode series, but I'm keen to explore
> > more about using it for my main job (a nightly soap - 250x23min a year).
> >
> > The benefits of Avid's "grade in the timeline" approach are great, but lack
> > of flexibility is frustrating - but we are assured that they hear our
> > frustrations on this, hopefully, so perhaps change is in the wind.
> >
> > Dylan Reeve
> > http://dylanreeve.com/
> >
> >
> > On Fri, Mar 23, 2012 at 10:43 PM, Christopher Lowden <
> > christopher@> wrote:
> >
> > > **
> > >
> > >
> > I have just finished 15 commercials using an aaf / davinci lite workflow.
> > > Apart from rendered mxfs out of davinci that were occasionally quarantined,
> > > it worked amazingly well. The reconform in the avid was easy , as long as
> > > the tc and tape name were right. To make it harder, these were 5d rushes
> > > that we graded directly, so metadata was key to the success. I initially
> > > wanted to use symphony but I got stuck as firstly I could not find someone
> > > who really knows what creative colour grading is. There are plenty of avid
> > > editors who can fiddle with colour levels. Secondly, symphony has the worst
> > > matte/track logic ever conceived. Once you have used a dedicated grading
> > > app, you're in no hurry to go back to symphony.
> > > All to say that I feel that avid should integrate symphony to mc and have
> > > a utility to repair mxfs. Aafs are great. In my experience, it's avid's
> > > very strict media needs that are such a handicap. What is the point of a
> > > quarantine if you can't repair the media. Once.that is sorted, a truly
> > > viable avid mxf pipeline with other apps is possible.
> > >
> > >
> > > --- In Avid-L2@yahoogroups.com, Jim Gilson <gilsonjamesj@> wrote:
> > > >
> > > > It would be nice if more of Magic Bullet Suite would work with MC, too.
> > > >
> > > >
> > > > Cheers,
> > > > jim
> > > >
> > > >
> > > >
> > > > -----Original Message-----
> > > > From: Shirley Gutierrez <guanacaa@>
> > > > To: Avid-L2 <Avid-L2@yahoogroups.com>
> > > > BASIC MC
> > >
> > >
> > >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>
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