Steve,
I agree with you and Terry on the external scopes, but I have to tell you... A couple of weeks ago (in fact, right after I attended your presentation at Alpha Dogs), I was in a situation on-lining a show when the Tektronix scope took a dump at the beginning of the session. The rental company that supplied the system wasn't able to get a replacement for a couple of days, so I was forced to do most of the show using the internal Symphony scopes.
Two days later when the replacement finally arrived, I rechecked every shot and found that I didn't have to make a single adjustment.
So yeah, it's a PITA to have to rely on them, but in a pinch, they get the job done.
BTW, I was the guy who won a copy of your book in the raffle and got you to sign it. Thanks for that. The book is very helpful.
Steve Pomerantz
www.stevepomerantzeditorial.com
--- In Avid-L2@yahoogroups.com, Steve Hullfish <steve4lists@...> wrote:
>
> Obviously, I'm with Terry on not using the internal scopes.
>
> The internal scopes of Symphony/MC are especially hideous because even when they're working PROPERLY, they don't update AT ALL until you release the mouse. On some software, I know this is user selectable, so you can opt to use more horsepower on the scopes updating, but I don't think that's true with Avid. This updating thing can literally add HOURS to a show. I can do a correction with real scopes in 15 seconds that will take you 5 minutes to do. At some point the value of some external scope becomes evident unless your own professional time is nearly worthless. Over 4 years, a $6,000 scope at 50 weeks a year is only $30 a week... $6 a day! (And a scope should last for a lot longer than 4 years). So if that scope saves me a minute an hour it's paid for... obviously the math doesn't quite work out like that, but screwing up a single job in QC delivery can easily cost you that much alone in extra work, expense, shipping and lost client confidence.
>
> If you're serious about color correction, you really need real scopes. The Avid ones are SOOO low res and small, without the ability to zoom or basically do anything that real scopes can do. Saying you can't afford $6 a day to be a professional sends a very clear signal.
>
> Steve Hullfish
> contributor: www.provideocoalition.com
> author: "The Art and Technique of Digital Color Correction"
>
>
> On Jul 14, 2012, at 11:26 AM, Terence Curren wrote:
>
> > I never use the scopes in the Symphony, so I can't say for sure.
>
>
> [Non-text portions of this message have been removed]
>
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