I have to disagree that you need something more than basic media composer color correction for broadcast television. Think of all the years we had just 4 TBC knobs and that went straight to the big 3 networks. I personally wouldn't want to color correct in a basic media composer because I have become accustomed to the relational symphony style color correction the boost speed. The extra features help too but in a pinch a Media Composer can do a reasonable job on a basic color grade.
Sure there a plenty of more powerful color correction applications that have their place when more color refinement is needed but in the documentary reality world I have no problem satisfying clients with a decent color grade. The added benefit of seeing everything in context is also an important reason for my series work. Perhaps in the Promo arena there is more budget and scrutiny so having a more advanced color system helps. I worked at one place that used Resolve while they did Avid offline for EPK and trailer work. After I showed them how much more efficient staying in Avid symphony for the finishing was they quickly switched from doing everything color wise in Resolve to doing most everything in symphony and bringing in Resolve when they felt something needed that added touch on certain shots or footage.
Baselight is a great addition to work side by side with symphony color correction to avoid the round trip gotchas.
---In Avid-L2@yahoogroups.com, <mactvman@...> wrote :
The facility I work at primarily uses dedicated color systems (Nucoda). However in our promo work for film and television we use the color correction available in Flame, and Baselight inside AVID to get this done.
You can bet, however, that the moment we go to Blackmagic hardware, we will be using resolve for our promo work, it's free!
Posted by: bigfish@pacbell.net
| Reply via web post | • | Reply to sender | • | Reply to group | • | Start a New Topic | • | Messages in this topic (43) |
No comments:
Post a Comment