Horrible scopes utilization

AGAIN ... rather than nifty new features, I'd like SOME pressure on Adobe to fix major things that need a "touch" to get them working in a basically USEFUL manner.
Such as ... Speedgrade's scopes. Look at the enclosed pic, a screen grab of my "4 scopes/10bit" layout I currently see.
Does ANY of this look like it should be this way?
Let's start with the histogram, upper left. Currently showing negative values on two colors. If I adjust the "base" in any way, those move somewhere ... but they DO NOT stay where they are when I release them after I release the control ... and note, I'm using a track wheel. I rotate the wheel or outer ring to where I like, then hit a button to 'release'. The placement of the scale always moves on release, can be either up OR down, so I have to just move it about until they end up sorta where I want them after the 'bounce'. Time consuming and LESS THAN OPTIMAL workflow?
Next ... lower left quadrant, the vectorscope. Note there are no "graticules" visible on this one, as there are at least on the other four. Which means ... no target boxes for those using the nice spendy calibration cards to use to calibrate their footage, you have to guess where the various colors are on the scale, and of course ... no "skin-tone" line available either. Stuuupid.
Next ... whole right side. Note how weird the parade and waveform scales are set up? They compress the scales rather than showing the work you've done on a full-height area like every other scope ever made. But they don't even do it the same on both scales. Note that on the top one, the black area has shortened to match the number-scale figures, to about HALF the height it should be. And the other one ... the black box is still full height, but the NUMBERS have shrunk to half-box height.
What the Hell? Not ONE of these scopes is displayed in any sensible or easily usable way.
Neil
(and yes, I've done mutliple wish-requests on this)

Drystonewall,
I am sincerely sorry but I do not see exactly what you clearly felt about Shooternz's post. I look back through his comments and would have to agree with the points about CS5.5->CS6, that was (to my view also) a definite version-step up. Did everyone using CS5.5 need or directly benefit from the changes involved? Of course not. Yet it still was over-all a version upgrade. In our studio, with three to five computers running Photoshop (a couple of them laptops running under their "comapanion" desktop) we chose whether or not any particular work-area needed any particular upgrade. Our sales room was nearly always "two steps back" ... mine was normally a version back, and the wife's was frequently spanking new. Those operating in the video/film sphere obviously made the same decisions.
Adobe changed their operating model at the end of the CS6 software cycle. The switch was to provide software as a service rather than a product. Conceptually rather than having coders work on making a large enough change at one whop to justify a lot of people shelling out big bucks for the "new do", it was a change to simply having coders constantly working on upgrading the software and sending out multiple upgrades as they are ready to go, rather than holding them and making a new bundle.
Hasn't been a perfect roll-out, as everyone has noticed. And there've been some major foul-ups in there. Most of which they've attacked and fixed ... yet a few big ones remain such that some entire "houses" have felt a need to work elsewhere for the time being. That's definitely not a perfect roll-out. Clearly for some people with their particular mix of OS, footage formats & codecs, other involved software used on steps of their pipeline capture->delivery and a particular format/codec they need to deliver, the Adobe stuff isn't a usable option. At this time.
The only one they've said they're not working at bringing into the "works" is footage with a variable bitrate such as from some smart-phones and computer-monitoring software. And everything else they're working on as they can solve one problem and move onto the next. Considering the range of options they're trying to build software for, it is a formidable task. Everyone from the relatively simply demands I (also a one-man shop as far as video goes) that I place on things to major tv delivery houses and clearly they want to become more usable in the "film" work also.
And their path forward for software is as clearly stated for over a year, the "CC" model as they call it. As a ... convenience? ... they are still selling CS6. For now. They are putting no develpment into it, and again, have been very clear about that.
If CS5.5 floats your boat just fine, that's great ... enjoy it. No reason you shouldn't and especially if it does everything you need hey, the cost is great, right?
Their first iteration of Speedgrade was ... interesting. A very different GUI still than any of the CS products as they'd just acquired it and hadn't had a chance to modify the GUI into something that someone used to Adobe software would even recognize. Even the "full" CS6 iteration of Speedgrade ... which was the first one I purchased ... was still complicated for me and extremely difficult to work with. Sending anything to it from PrPro was a royal pain, and getting it back into PrPro even looking like it did in Sg was almost impossible for me. So I did most of my 'grading' (such as it was) in PrPro, a little actually in AfterEffects using Shian Storm's "ColorGhears" LUT's.
When the CC7 stuff arrived, I tried it out ... and the first couple weeks were crazy. It behaved differently than the ol' "6" version, and their explanation of the differences in working within a DL timeline didn't really explain HOW differently this was designed to work. After getting another <dot>-x down the road and learning how it's supposed to work, and not trying to make it work the old way ... wow, it's been a game-changer for me. I don't have to know squat about transferring projects, transcoding, edl's, rendering out and importing back ... NONE of that.
It's not part of my workflow. I just DL a timeline over to SG, and immediately work on that timeline. Send it back to PrPro and immediately I'm back in PrPro working away. Between the time saved going to and from, the total lack of a need to move files from one to the other or normally even re-link anything, and the vastly easier project management from not having all those extra files to worry about, and know which ones to dump and which to keep, that's several hours a week.
Would good professional quality scopes help? OH BABY YEA.
Will they finally get them? I expect so ... they've added a bunch of other things and fixed a lot of other things, I think they'll get to it eventually. But even if they don't the ease and speed of my workflow saves me a ton of time and hassle.
Time is money ... and I save a bunch of money using this software. And I've probably wasted a ton of your time if you've actually read the whole thing I've written. If you do take the trial I would heartily suggest getting a look by asking for some of the users around here as to how to utilize this in your workflow. Give a typical project or perhaps an overview of a couple typical projects, and ask how folks would work them. Shooternz and Jim Simon and several of the others will probably chime in with ideas ... especially after one of them does and of course, could use some ... well, not correction precisely, but ... guidance? ... in their choices.
I don't suggest this because in any way shape or form I think you don't know your work ... in fact, I'm assuming you are a LOT more knowledgeable in many areas of video work than I. The reason I suggest this is the Adobe suite has become something very different than we had before. It takes a different workflow pattern ... and it's not always obvious what that is. I don't know how many people have come on here frustrated because they can't figure out how to do "X" and are frustrated that there's quite a work-around needed to do that anymore.
Now, about the third post on the thread someone will ask them why they want to ... as simply that step isn't needed anymore. Sometimes people actually can step back and go ... oh ... and try the "new" way, and go away happy. Sometimes there isn't a way to do what they want without a stupid workaround. Yea, those are damn frustrating.
And sadly sometimes people are simply so used the "fact" that ALL such workflows require you to do "x" and they don't want to hear any stupid comments about the way it MUST be done. Such as ... I'm so amazed at the number of people who transcode for their NLE, then insist on transcoding to get the best codec for grading ... then transcode again for output. Are there a couple formats of either file/camera-capture that say, PrPro can't work with well or at all? Yep. But much of the transcoding people right about involves files PrPro handles just fine these days ... and can DL over to SG without need of anything. So ... why mangle your footage, take the time both out of PrPro and into Sg, and take up far more disc space?
I dunno ... but some people insist.
There are for so many things a different way of doing them now. And especially for this one-man shop, the Adobe stuff saves me far more time than the CC model costs me compared to any other way I could be regularly working and upgrading my software.
But as I'm very aware ... everybody's mileage varies.
Neil

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Edited by: user7761515 on May 3, 2012 11:29 AM

Hi,
We are using Oracle Coherence on linux servers. However, we noticed that because of Coherence processes running, often our swap utilization % increases too much, sometimes becoming more than 98%, even touched 100% a few times.
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