-
Symphony Color Correction
I have seen some fantastic (beautiful, inspiring, and creative) artist demo reels for color correction done in Lustre. Avid advertises Symphony as an editing and finishing platform with enhanced color correction. Is it realistic to say the same color correction results can be achieved in Symphony as Lustre, or are they intended for two different end results? (simple vs complex)
Hopefully I’m making sense. Thanks.
-
6 Replies
-
IMHO: no, Symphony’s tools were pretty nice 10 years ago, but are nowhere near other tools today.
-
Agree with Job, in general. There certainly are better tools out there.
Symphony’s strength is that you can do some very precise and sophisticated color correction within the Avid itself, often in real time. Depending on the type of programming and your workflow, that can be a very big deal. FCP (legacy or X) or Premiere can’t really do that, even with plugins. The $3k pricetag is kind of hard to justify these days, though.
-
So if inquiring with Avid, they would recommend to use Symphony and Nitris DX for editing, finishing and color correction. Asking other people, I’m guessing folks are selecting Media Composer over Symphony (in most cases, because they don’t see the value in paying $3,500 more for Symphony). Once using MC, perhaps most folks are using DaVinci for color correction? If going down the MC and DaVinci path, I guess it begs the question as to whether one would need Nitris DX unless there are some very specific needs that only Nitris DX can offer within MC, because the AJA Kona 3G is significantly less, and the Decklink family of cards even less than AJA. I’m assuming Davinici also only works with the Decklink family and doesn’t support monitoring output on Nitris DX.
-
The biggest advantage of Symphony over Media Composer is Universal Mastering. That is a BIG thing to a lot of people. And you can do pretty good color correction inside Symphony, but if you need serious color correction with a Colorist, Resolve is the way to go. Symphony correction is typically the realm of ONLINE editors. There’s a fine line between Online editors and Colorists.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Just so people are clear…Universal Mastering is a great feature but it is not a built in Alchemist. You need to work in a 24p sequence, then you can master to anything. If you generally work in an interlaced format, it won’t really help you much.
-
Symphony and Davinci resolve on a mac or PC with a Black Magic Card and MC Color control surface will give you just about all you could ask for in a Premo “budget” finishing solution. throw in a copy of Nuke or AE. and I’d say you’re pretty darn complete.
Davinci has a great round trip workflow for Symph/Composer media and AAF. just like they do with FCP, and IMovie Pro.once you’ve ssen it in action, it’s really a no brainer…
and the MC color panel will work in both Avid and Davinci. so light lifting in Avid, the real good stuff in davinci. all ont he same hardware. sweet!
Reply to this Discussion! Login or Sign Up