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AutoDesk Smoke 2010 on MAC
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This is the kind of stuff that the guy who sign the check probably never have being sitting in an edit room.
Sell few, very expensive, systems and live with the “maintenance program” contracts. It seems that the winds are changing: Look at DaVinci.
Rafael -
[Rafael Amador] “This is the kind of stuff that the guy who sign the check probably never have being sitting in an edit room. “
Actually they have, usually in the back of the room, painfully bored that they are waiting for something to render for client preview.
Look, if you are flenching at $20k for something- its not for you, but for people that have a real need for advanced compositing and finishing tools.
The Motion/ Color combo is only partial enabled with the tools to completely handle some functions – say mask an image, composite into a multilayer file and then color correct the individual layers independently from each other…
Wouldn’t it be nice to NOT have to dance around XML round tripping from Color / Un-rendered Motion Comps / FCP when outputting?
Lastly, remember in the areas that FCS lacks in, Smoke is an industry leader. Smoke is the clear leader for finishing of content in 444 / DPX / Film out style workflows, and if you have ever had someone pacing behind you in the edit suite, being able to work with this level of toolset, at highest quality, in realtime make a difference.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[Rafael Amador] “This is the kind of stuff that the guy who sign the check probably never have being sitting in an edit room. “
Actually they have, usually in the back of the room, painfully bored that they are waiting for something to render for client preview.
Look, if you are flenching at $20k for something- its not for you, but for people that have a real need for advanced compositing and finishing tools.
The Motion/ Color combo is only partial enabled with the tools to completely handle some functions – say mask an image, composite into a multilayer file and then color correct the individual layers independently from each other…
Wouldn’t it be nice to NOT have to dance around XML round tripping from Color / Un-rendered Motion Comps / FCP when outputting?
Lastly, remember in the areas that FCS lacks in, Smoke is an industry leader. Smoke is the clear leader for finishing of content in 444 / DPX / Film out style workflows, and if you have ever had someone pacing behind you in the edit suite, being able to work with this level of toolset, at highest quality, in realtime make a difference.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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[gary adcock] “[Rafael Amador] “This is the kind of stuff that the guy who sign the check probably never have being sitting in an edit room. ” “
What I meant is that small companies can not afford such prices.
Sure there are people that need these devices because they have customers that pay for that.
Always will be something better and faster, but we know that if in Cupertino they want, FCS will catch Smoke in less than two years.
Cheers,
Rafael -
I think Apple has shown they aren’t interested in the very high-end market with the latest release of FCS and the killing of Shake. They have nothing to show for in terms of high-end compositing (Shake was and I guess is good but it’s a dead-end application). Their color correction tools are like most desktop-environemnts – split up in different applications. Something like Color is good, and an awesome audition to Final Cut Studio, but yeah… It’s “yet another app”. This sometimes has it’s pro’s, but it’s not really an “integrated” experience (if we in FCP had a “color mode” we’d be talking but then again, not many of FCP’s users would actually want that either).
It’s very hard having a product that caters for the avid home user, the weeding photograph editor, the sports and sitcom editors, the TVC and film editors as well as the people that would finnish all of the above… Color correction, effects, titles etc. I would LOVE to see a “Final Cut Extreme” finnishing tool, but with that I don’t want to loose the flexibilty of the editor of my chose the past, what is it, 10 years now.
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Erik Lindahl
Freecloud Post Production Services
http://www.freecloud.se
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