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A Comprehensive List of NLE Systems
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I worked with a guy in Orlando that Oliver Peters most likely knows, Curtis Sponsler. He was a huge fan of Speed Razor and had probably the most tricked out PC you could buy in 1997 to run it… next to his Pentium Pro render farm for 3D Studio Max!
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There was Panasonic PostBox, but I think that was before Fast Video.
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Yes, I’ve known Curtis for years. Good VFX guy. For awhile we worked at the same company.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
FORscene?
And how about the finishing systems? discreet/Autodesk Smoke/Flame, Assimilate SCRATCH, Quantel/SAM Pablo, SGO Jaleo/Mistika.
It might be fun to look at compositors, too: Shake, Chalice, Rayz, IFFFS, combustion, Toxik, Cyborg, Socratto…
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
Did anyone other than me use Radius (MacClone) computer and Radius Telecast. It was a Mac 8100 I seem to remember, and the thing never really worked. There was a cheaper version Radius Edit that used Premier that absolutely did not work at all. Audi drifted in 2 minutes. You had to write scripts to play back 2 minute segments.
Then I went M100 and stayed with it for more than a decade.
Now FCPX is my main editor.
Those early NLE days were painful and expensive, Telecast was about $20K I seem to recall, before they dumped the production and you could buy them for a tenth of that.
Olof Ekbergh
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Century III
I remember my boss wanting to buy their DF/X Composium. Not happy when I explained that After Effects had eclipsed it seven or eight years later.
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[Scott Thomas] “DF/X Composium”
At various stages we had a pretty big investment in heavy iron and for a while, the business to support it. In addition to the Composium, there was a Colorgraphics (?) box, Quantel paintbox, and several SGI computers running Parallax, Wavefront, Maya, Softimage, etc. That was in addition to full-blown digital linear suites, Avid rooms, film transfer and audio post.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I used the Colorgraphics box, the DP-422. It’s forgotten in the annals of video graphics history.
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[Scott Thomas] “I used the Colorgraphics box, the DP-422. It’s forgotten in the annals of video graphics history.”
Yep. We had the one with both disk drives and 3D animation option. At that time we were doing dual post on some first-run syndication – “Superboy” for Viacom, as I recall. We were doing a dual post operation in both NTSC and PAL, starting with native film transfer in each standard and then native online and VFX. For VFX, the NTSC side (29.97) was using the Composium and the PAL side (25) was having to match the VFX by eye and duplicate them as faithfully as possible in PAL using the DP422. The only common element was a speed-adjusted/pitch-corrected mixed track.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Neat to hear the history of that machine. I believe the one I used was purchased from CIII and sat next to a newer DP-MAX.
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