To answer your question is simple, based on your target audience.
If you are finishing for web, probably you don't need more than the Avid color corrector.
If you are finishing for Broadcast Televison, Blu-ray or Feature Film release, you need a bigger toolbox than a stock Media Composer provides. Not just in tool sets including power windows, noise reduction, grain adjustments and the like, but in the bit depth and how color is processed. Avid does not do well in that arena. Footage gets posterized and noisy when you have to push colors too far.
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.
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.
The only reason we aren't using resolve yet, is we don't have blackmagic hardware. We primarily use Nitris DX and AJA i/o hardware.
You can bet, however, that the moment we go to Blackmagic hardware, we will be using resolve for our promo work, it's free!
You can bet, however, that the moment we go to Blackmagic hardware, we will be using resolve for our promo work, it's free!
Dave Hogan
Burbank, CA
On Friday, July 15, 2016 2:05 PM, "switthaus@mac.com [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:
I guess my question is, how many of us (editors) really needs a color corrector of Resolves strength? If not, why settle (at this point) for an NLE that is lagging behind all the others?
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Posted by: Dave Hogan <mactvman@yahoo.com>
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this is the Avid-L2
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