As much as I love my Sony PVM OLED monitor I do miss the extra screen space for audio meters I have on a JVC and others that at least allows me some visual confirmation of audio out of avid and return audio from tape machines without covering up the video.
--- In Avid-L2@yahoogroups.com, Mark Spano <cutandcover@...> wrote:
>
> In my setup (that I did not purchase myself, mind you), I use a Flanders
> 17" LCD. The built in scopes are decent and getting better all the time due
> to firmware updates by FSI. It's fps refresh isn't a full 1:1, but it isn't
> dependent on CPU, so it updates when you move sliders. The FSI also has a
> handy alarm feature that can light up at over-IRE values. It works, too.
> And a set of audio dBFs meters, and a phase scope, and an RGB parade, and
> a...
>
> Of course, in the machine room is a handy Tek 7000 which I rely on during
> layoffs.
>
> I'm not a heavy colorist, more of an online/QC guy, so what I'm using both
> of these for is mostly checks and balances. YMMV...
>
> On Sat, Jul 14, 2012 at 8:20 PM, johnrobmoore <bigfish@...> wrote:
>
> > **
> >
> >
> > Steve I'm going to quote you when I tell my wife when I buy the Tek 8300
> > scope which by your math should be more like $12.00/day. I just can't
> > handle the limitations of one DSP on the Tek 5200. I guess I'll still be
> > saying it's only $12.00/day in a muffled voice because I will be sleeping
> > in the dog house but it will be worth it. Sometimes I wish I didn't like
> > Tek scopes so much. At least I built the dog house extra big. ;-)
> >
> > --- In Avid-L2@yahoogroups.com, Steve Hullfish <steve4lists@> wrote:
> > >
> > > Obviously, I'm with Terry on not using the internal scopes.
> > >
> > > The internal scopes of Symphony/MC are especially hideous because even
> > when they're working PROPERLY, they don't update AT ALL until you release
> > the mouse. On some software, I know this is user selectable, so you can opt
> > to use more horsepower on the scopes updating, but I don't think that's
> > true with Avid. This updating thing can literally add HOURS to a show. I
> > can do a correction with real scopes in 15 seconds that will take you 5
> > minutes to do. At some point the value of some external scope becomes
> > evident unless your own professional time is nearly worthless. Over 4
> > years, a $6,000 scope at 50 weeks a year is only $30 a week... $6 a day!
> > (And a scope should last for a lot longer than 4 years). So if that scope
> > saves me a minute an hour it's paid for... obviously the math doesn't quite
> > work out like that, but screwing up a single job in QC delivery can easily
> > cost you that much alone in extra work, expense, shipping and lost client
> > confidence.
> > >
> > > If you're serious about color correction, you really need real scopes.
> > The Avid ones are SOOO low res and small, without the ability to zoom or
> > basically do anything that real scopes can do. Saying you can't afford $6 a
> > day to be a professional sends a very clear signal.
> > >
> > > Steve Hullfish
> > > contributor: www.provideocoalition.com
> > > author: "The Art and Technique of Digital Color Correction"
> > >
> > >
> > > On Jul 14, 2012, at 11:26 AM, Terence Curren wrote:
> > >
> > > > I never use the scopes in the Symphony, so I can't say for sure.
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>
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