I infinitely prefer external scopes as well, but also find that if I have to, I can work with the internals, despite the fact that they're even harder to use in an HD Composer window config. The alerts help me with legality, and I've corrected enough now that I can practically see the RGB parade when I look at a shot with a cast, so I'm not as dependent on them to guide me through the software as I once was. They mostly kill me when I have to deal with iris shifts, when real time update becomes crucially important.
Still, give me quality externals any day!
Shirley
-----Original Message-----
From: SP <sppomerantz@yahoo.com>
To: Avid-L2 <Avid-L2@yahoogroups.com>
Sent: Sat, Jul 14, 2012 11:40 pm
Subject: [Avid-L2] Re: Color Correction Scope problem Symphony 6.0
Steve,
I agree with you and Terry on the external scopes, but I have to tell you... A
couple of weeks ago (in fact, right after I attended your presentation at Alpha
Dogs), I was in a situation on-lining a show when the Tektronix scope took a
dump at the beginning of the session. The rental company that supplied the
system wasn't able to get a replacement for a couple of days, so I was forced to
do most of the show using the internal Symphony scopes.
Two days later when the replacement finally arrived, I rechecked every shot and
found that I didn't have to make a single adjustment.
So yeah, it's a PITA to have to rely on them, but in a pinch, they get the job
done.
BTW, I was the guy who won a copy of your book in the raffle and got you to sign
it. Thanks for that. The book is very helpful.
Steve Pomerantz
www.stevepomerantzeditorial.com
--- 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]
>
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