> johnrobmoore wrote:
> The round tripping is problematic at best.
I hear you and, yes, I was being a bit flip. Fortunately I control the flow of many of the jobs I work on and most are 24p, so I haven't run into the NDF/DF issue much. FWIW - I've dealt with several A-list DI shops in LA and their submission requirements are pretty strict. Like no speed effects. They are also very FCP-centric, which surprised me, seeing as LA is such an Avid town. It's easier to send an EDL with QuickTimes, than an AAF with MXF media.
> I know Resolve 10 is stepping into a more functional editing environment
Well... Maybe. Of course, like most BMD things, it likely be quite late. I also wonder how quickly Resolve will have run its course. Being free tends to devalue the product to the high end folks. You might look more into Smoke. That's where some of Avid's better engineers have landed. There's definite motivation to make it a stronger editor. Might be that color correction is also on the roadmap.
> in the factory style finishing I have grown
> accustomed to with Avid it's hard to have all the
> hoops it takes to round trip.
I quite agree. In-NLE grading is still hard to beat. Unfortunately Avid has dropped the ball in both features and quality of the final graded product (IMHO) - if finesse is the objective.
> The only practical way seems to be to treat
> it like the conventional tape to tape workflow
> only with files of the complete show.
I agree. Now you know why there's no SpeedGrade roundtrip with Premiere Pro.
- Oliver
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