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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