In my world of LA based Reality, Magazine, Documentary and Network Variety/Sports programming Avid has the hands down lead in a collaborative workflow for offline to a relatively seamless online in Symphony/ Media Composer with Symphony option. Of course the color corrector is the weak link but really for the things I do it is quite capable. What Avid could do in my world is build on the collaboration already in the product line and add modern day color correction tools to the color corrector thereby making it the hands down choice to finish main stream TV programs. For the reality world this wouldn't take all that much. Some usable form of power windows and secondary color correction along with some noise reduction with a reliable tracker and my world wouldn't even think about a round trip to Resolve. With a little more effort they could be viable to episodic prime time shows, most of which are already offlined in Avid. I realize there is a much bigger world than LA Post but they have the frame work out there already. The improvement in the Artist Color Panel sensitivity in the latest V7 patch is a step in the right direction, although I haven't used it yet if it is finally workable that could give the 3 track ballers out there a run for their money.
I'm not saying Avid's image processing is on par with baselight, resolve etc... but it's good enough in my market space. Staying all in one interface is a huge plus and if Avid can get specialists in color correction to see the Symphony Option as a viable color corrector they would have finishing in my world locked down. Of course as mentioned that would mean putting effort into a modernized color corrector.
I will leave the need for Resolution independence and advanced compositing to those with more experience in those areas.
--- In Avid-L2@yahoogroups.com, Jeff Sengpiehl <jeffsengpiehl@...> wrote:
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> So, what do YOU think the biggest challenges are for Avid as a Company, going forward?
>
> JDS
>
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