Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Robin S. Kurz] “I’ve used it for years exclusively for VFX since it’s a compositor at its core, no doubt. Can’t see using it for motion graphics, since that’s certainly not one of it’s strengths in comparison to others imho. If tight integration with Resolve is introduced (which I think is a given) I can see myself using it in that context i.e. for possible touch-ups of visuals etc.”
You can’t have used it very extensively if the only use you can think of for it is touch-up.
Simon Ubsdell
tokyo-uk.com -
I notice that the free version doesn’t seem to include optical flow retiming which seems like quite a big omission – not a deal-breaker, but you’d really want to have it if you were getting serious with the application.
Oh well, what’s another $995?! It’s still amazingly good value at that price.
Simon Ubsdell
tokyo-uk.com -
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[Robin S. Kurz] “I’m sensing some misguided bitterness here. 😀
I’m just curious to see if (and how) Black Magic of all people are even able to decently cater to and support an app like that. I don’t think it will work out for the BETTER for Fusion, but we’ll see…!
It certainly shows what direction they’re going and what their underlying intentions (most likely) are. Seemingly the new ALL FREE high-end NLE maker. Not sure how that could pan out in the long run. Hmmmm…”
What on earth are you talking about? I can’t make any sense out of that whatsoever.
Simon Ubsdell
tokyo-uk.com -
[Scott Witthaus] “Perhaps they spent too much time on 3D, which really didn’t work out so well. Would you agree?”
I’m thrilled that 3D appears to have been the damp squib I always hoped it would be.
That doesn’t take away from the fact the AVID provided an incredibly solid and easy-to-use workflow while the fad lasted. And that is surely to their credit. Like them or loathe them, they do actually provide solutions for high-end workflows that some others can’t be bothered to cater for. I think you’d probably agree on that.
Simon Ubsdell
tokyo-uk.com -
[Walter Soyka] “I’m sympathetic to the argument that Avid has shown very little innovation lately, but I think it’s hard to argue that Avid is in no way “superior” or “advanced.””
One of the workflows where I think AVID were well ahead of the curve was in stereoscopic. Obviously you can do this in other environments but I can’t help feeling that AVID managed to own that space with their implementation, which in addition to its depth was extremely easy to use.
Simon Ubsdell
tokyo-uk.com -
[David Mathis] “I often wonder how people react when they see how much Motion offers, how much power and potential it has for a very low price of admission.”
Interestingly, I happen to know that they are quite excited when they see what can be done even with something as apparently simple as Motion.
Simon Ubsdell
tokyo-uk.com -
[Michael Gissing] “Frankly I dont really care if powerful tools are cheap enough that there is a greater access and democratisation because that doesnt impact on any advantage I may have from 30 years of experience on previous more expensive tools.”
I think that was really my point, not so well expressed. You can’t buy your 30 years experience off the shelf, but there does seem to be a growing perception (or maybe it’s just the internet?) that owning the right tools is pretty much all you need to worry about. And there’s been quite a bit of that kind of stuff right here on this forum recently, or indeed since its inception …
(I bet you could have created a great mix on Soundtrack Pro – you don’t need Fairlight …)
Fusion is an outstanding tool and has been for a very long time and I’m delighted on the one hand that it’s finally getting its day in the sun.
However, it would be a crying shame if this ruthless offering damaged the viability of The Foundry – that would be in nobody’s interests, but there’s a distinct chance that it might.
And more importantly, it seems to me that yet again new entrants to the field of VFX are going to get caught up in the need to be using Fusion, rather than actually learning the craft from the ground up – just as we saw with Resolve. The more complex the tool you throw yourself into, the more you’re going to be wrestling with the complexities of the tool (which are not inconsiderable in this case), rather than getting to grips with the techniques which will enable you to create great work.
Obvious, I know, but I think it’s a point worth making …
Simon Ubsdell
tokyo-uk.com -
[Michael Gissing] “Will I be a Hollywood grade VFX artist by the weeks end? Hardly expect the tools to make up for experience and skill but thank you Blackmagic for making it easier to expand my toolset and skills.”
If Mr Petty were to buy ProTools and release it for free next week, you might be just a little hacked off if he suggested that ownership of the application was all you needed to become a top flight audio engineer.
I know that’s not exactly what he’s saying here about Fusion but he sure as hell is letting the implication dangle …
To elaborate on that point a bit:
There’s owning the software.
There’s knowing how to operate the software.
There’s knowing how to get results with the software.
And there’s knowing how to get great results with the software.
The distance from the first step to the last is very considerable in some disciplines – audio is one and VFX is another. Editing considerably less so, I’d say, but nonetheless the journey from step one to step four is still not a hop, skip and a jump.
Does the cheapness of today’s software perhaps disguise some of this?
Simon Ubsdell
tokyo-uk.com -
[Walter Soyka] “An awful lot of people are about to realize just how convenient layer-based compositing/design is.”
Haha – yes, indeed.
But how easy they will find it is perhaps another question.
Simon Ubsdell
tokyo-uk.com