I agree. I save hours every day by exploiting src clip name based color correction. A little prep time to unify the source media clip names based on color concerns pays off in the long run. Of course it use to be easier when the Master Clip relational color correction worked properly but since 3.5 or 4 that has been broken to accommodate some aspect of the keyframeable color correction. A feature that I've yet to find useful. But even with the RIDICULOUS CHANGE MADE IN MASTER CLIP BASED COLOR CORRECTION THAT RENDERS IT USELESS, uh oh got a little carried away where was I? Oh yeah symphony's relational color correction is really helpful in my reality, documentary or any world I can think of. I find many are afraid of effecting another shot without knowing it but with a little care in preparation most of those issues can be avoided or easily remedied when watching down the sequence.
--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
>
>
> --- In Avid-L2@yahoogroups.com, "blafarm" <blafarm@> wrote:
>
>
> <<So, for those of use who might not be using a Nitris DX -- is Source Side Correction with an hamstrung CC Tool really worth the money? Especially when you have a group of frustrated clients sitting behind you -- mystified as to why you can't simply match capabilities of all other rooms they correct in.>>
>
>
> Yes, it's worth the money to have source side correction and an integrated CC tool. And I have yet to have a frustrated client, but maybe I know the toolset well enough to get around the shortcomings?
>
No comments:
Post a Comment