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]
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