[John Pale]

Symphony has a number of additional panels in the color corrector interface that I use constantly. You can make adjustments on Shadows, Midtones, and Highlights independently more easily.
Symphony has powerful secondary correction, where you can have multiple secondaries going at once. They are based on sampled colors though, not user drawn masks or “power windows”.
Symphony can apply color correction based on source tape automatically, and can also apply an adjustment or even a completely new grade on top of an existing color correction.

This is just a really quick, off the top of my head list. Yes, Symphony has a better and more powerful color corrector. Whether its worth several thousand dollars more than MC, when you can get DaVinci Resolve essentially for free, provided you have the necessary hardware, is your call.

[John Pale]

[Ray Chung] “Does anyone out there that uses or used a Kona or other PCI-e interface with FCP set their frame offset to zero?”

Yes. Thats what you are supposed to do. If you don’t, you are really out of sync.

[John Pale]

You may not even need to trash the databases.
If moving the To a system that already has media on it, just change the name of the media folder from “1” (or whatever it is) to another number. Then copy the folder to the MXF folder on the new system. The existing database should be recognized at startup.

[John Pale]

[Bob Zelin] “Would you pay $349 ? Would you pay $299 ? (this is what AJA charges). “

Yep. I’d be ordering one right now at that price.

[John Pale]

I think you are just gonna have to use the low tech solution and turn your monitor upside down until you are done sub clipping.

[John Pale]

I wish they would make an optional breakout box. Apart from the convenience, the weight of the breakout cable of the Decklink Studio 2, with all those connections, actually makes the card come unseated over time. I’ve managed to support it with a Rube Goldberg contraption, but I still have to periodically reseat it.

[John Pale]

I have the 17 inch model from the same series as your 20 inch. It has a low latency setting that solves any issues for me. Does the 20 inch model have this?

BTW, the delay setting in FCP is primarily for situations where you are using a Firewire device to monitor video. Firewire introduces a significant delay, usually 4 frames or more. The delay setting affects the desktop display to make it match the output via firewire. If you are using a capture card, the setting is supposed to be changed to zero, as there is no delay.

The delay setting in MC does the same thing.

In most edit rooms that I freelance in (with avid dx hardware), there are audio delays installed to bring the audio in sync with the video monitor. I don’t have them in my home system, as the JVC low latency setting does the job for me.

[John Pale]

Glad you figured it out.
Definitely seemed like it pointed to the resolution of your render files.

[John Pale]

You might have your render settings at 1:1 instead of DNX. Check your media creation settings

[John Pale]

Make sure you don’t have Little Snitch blocking the port. Also check the settings of your firewall, if yours is active.