You might want to look at Baselight AVX instead of Resolve for your needs.
Stay entirely in Avid and still overcome the limitations of Symphony.
There is a trial version available that is fully functional.
On Friday, March 29, 2013, John Moore wrote:
> **
>
>
> In the past few weeks I've been receiving more interest in Resolve from my
> client base. I just worked on a project that had jumped on an in house
> Resolve Avid workflow without fully understanding how to set it up
> properly. I was brought in to deal with the Avid side of the online and
> offer workflow suggestions and there were two Resolve colorists sorting out
> issues on the Resolve side. The general consensus seemed to be that round
> tripping is fraught with gotchas even on this relatively effect free show.
> Various resizes would sometimes only partially conform with the AAF to
> Resolve and forget about keyframed effects used to add a hand held feel to
> shots. Now I know there are people on these lists who have worked through
> the bugs and found ways to strip off problematic effects to make the round
> tripping work with little to no translation problems. The prepping of the
> sequence before aaf''ing to Resolve seems very similar to workflows
> involving
> FCP7 and Color. The conclusion we came to was it would be safer and way
> more efficient to treat the Resolve workflow like a tape to tape
> conventional workflow only using files and an EDL/AAF. I know people on
> this list who have also come to this conclusion on some projects. On the
> project I was brought into a major reason for the Resolve was to access the
> R3D files from Red Epic so they could perform blow ups in the neighborhood
> of 200% in Resolve and not be limited to a 1920x1080 source file. While in
> theory this makes sense in practice they found they still had to add
> sharpening in Resolve for these extreme blow ups. Also we found for more
> moderate blow ups up to 40ish percent a DNX 175X file as a source coming
> from Resolve looked okay with the resize being applied in Avid. All this
> leaves me with the opinion I already had which is to intergrate Avid
> onlines to Resolve for color correction it's most practical to create a
> final QT or
> video mixdown to send to Resolve and then have Resolve send back a
> completed file to be output from Resolve and brought back into Avid for
> titling and final outputs to tape. It is my understanding the "Power
> Grading", I think that's the term, where you output directly to tape from
> Resolve is problematic on the basic $999.00 Resolve even with extra GPU
> power, hence the need to bring the final file from Resolve back into Avid.
> I would like to know what others think about these conclusions and what
> others are doing.
>
> Another concern I have is I have clients that are suddenly wanting to
> throw Resolve at shows we've been delivering straight from Symphony for
> years. I know Resolve is a more powerful tool for color correction than
> Symphony is but for the standard Reality/Documentary fare I deal with there
> is little need for advanced secondary color correction and use of power
> windows. Nor is there time in the budget to start going these extra miles
> for something that isn't all that noticeable. I realize I probably have a
> bias after years of Symphony color correction and doing everything I can to
> take full advantage of the relational color correction speed bump. I feel
> that the non relational color correction of Symphony offsets a fair amount
> of the speed picked up with a Davinci and it's full tilt panels when it
> comes to overall time for color correction. I still feel a seasoned
> Davinci operator can do the color grading on a shot per shot basis faster
> but I'm
> curious with what those with more Davinci chops than myself feel. Also
> how much does the color correction speed differ with smaller panels like
> Avid Artist Color or Tangent Wave compared to what can be done with the
> full tilt Resolve panels. I'm trying to be open minded here but my gut
> tells me for the factory style Reality onlines I do the Resolve will
> ultimately lead to more online time and a more complicated work flow
> especially with all the last minute changes I always see.
>
> John Moore
>
> Barking Trout Productions
>
> Studio City, CA
>
> bigfish@pacbell.net <javascript:_e({}, 'cvml', 'bigfish%40pacbell.net');>
>
> [Non-text portions of this message have been removed]
>
>
>
[Non-text portions of this message have been removed]
------------------------------------
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Friday, March 29, 2013
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