I agree with you. I've got about the same timeline of finishing shows in Symphony and the integration and relational color correction are big pluses in an Avid offline online workflow. I try to keep things practical and I realize there are other more powerful color correctors but for most work they are not needed. Sure it could look a little better if an experienced Davinci operator etc.... was given the time to work their magic but with limited time and last minute changes, the normal environment I work in, that's not practical.
As far as speed in grading I find the symphony because of the relational color correction and seamless integration with an Avid offline roughly just as fast as Resolve. This is more from observation as I don't spend time in Resolve grading at this point. I know many people like it's power but when you throw in the round tripping time etc... and the lack of seeing images in context it is far from an ideal workflow in my world. There is also a big difference in Resolve hardware and I was told at NAB last year by a demo guy he is at least 50% faster on the full tilt Davinci Panels than the smaller ones, so that plays into the equation. I see very few people opting for the full panels so that evens the speed difference between Avid and Resolve considerably.
The bottom line is if symphony had stronger secondaries and some form of power window masking there would be much less reason to go out to 3rd party color correction solutions. Sure for high end work all that noise reduction and great tracking filters to take 10 years off the talent are great but for most work I do that's not really necessary.
---In Avid-L2@yahoogroups.com, <paulshieldsavidl@...> wrote :
equivalents - the individual adjustments are not completely discrete.
Its lack of inbuilt windows/vignetting etc is woeful and its
"Secondaries" are so basic they're of little use.
However, I have satisfactorily graded many programs with it over the
last 13 years at a time scale my clients like. Those who are selective
enough to want a more precise grade pay to take the sequence out to a
colourist on Resolve or Baselight. The integration and speed of
Symphony's CC toolset is still completely unmatched in the industry.
But I would like the Baselight plugin to escape its AVX shackles...
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