Friday, March 23, 2012

RE: [Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

 

sounds good, i too have been working with resolve to see where it might fall within our workflows, one benefit i do see with it is a more portable talent base to pull from for colour exclusively. but seems to be an island, so are i am with you, i wouldnt use it for anything but a feature grade that can support such a 'single purpose' product.

cheers

David C Ballard
President and Creative Director
LAB 601, Inc.
www.lab601.com
404.876.4601

________________________________________
From: Avid-L2@yahoogroups.com [Avid-L2@yahoogroups.com] On Behalf Of Dylan Reeve [dylan@dylan.wibble.net]
Sent: Friday, March 23, 2012 3:28 PM
To: Avid-L2@yahoogroups.com
Subject: RE: [Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!

Indeed the show is shot multicam with CCU control. However we do apply a
look to each scene and have frequent "fixes" to make. Also the show is
typically 10-20% single-cam location material.

Symphony works but there are things we like to do that aren't very
practical in resolve. As it is I can grade a block (a week of episodes) in
a day usually. From toying with Resolve I think we could achieve similar
time frame (not including rendering) but there are aspects of our workflow
that don't work well with Resolve. It's something I will continue to
experiment with.

Sent from my mobile
On Mar 24, 2012 2:05 AM, "David Ballard" <dave@lab601.com> wrote:

> **
>
>
> hi dylan, for your workflow i'm not sure i get what you want. you mention
> an almost daily finish from cut MC projects. you would never achieve this
> anyway with any external CC system within your workflow. in your situation
> a soap would be shot with engineers matching the cams and i would expect
> not much at all for CC unless it's a blanket look. if there are odd shots i
> would imagine a animatte or paint or spot correction effect ( window) would
> be your fix for the shot.
>
> for a less time challenged project and larger per minute budget i would
> then consider using a product that can deliver the look.
>
> David C Ballard
> President and Creative Director
> LAB 601, Inc.
> www.lab601.com
> 404.876.4601
>
> ________________________________________
> From: Avid-L2@yahoogroups.com [Avid-L2@yahoogroups.com] On Behalf Of
> Dylan Reeve [dylan@dylan.wibble.net]
> Sent: Friday, March 23, 2012 5:57 AM
> To: Avid-L2@yahoogroups.com
> Subject: Re: [Avid-L2] Re: Dear Avid: Baselight and Resolve let's go!
>
> 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@fearlesstv.com> 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]
>
> ------------------------------------
>
> Search the official Complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
> Yahoo! Groups Links
>
>
>

[Non-text portions of this message have been removed]

------------------------------------

Search the official Complete Avid-L archives at: http://archives.bengrosser.com/avid/
Yahoo! Groups Links

__._,_.___
Recent Activity:
Search the official Complete Avid-L archives at:   http://archives.bengrosser.com/avid/
.

__,_._,___

No comments:

Post a Comment