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When the edit is done, the sequence list is “published” to the server and local, full-res media uploaded back to the home base (trimmed clips only).
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The edit software is a version of the NewsCutter/Media Composer interface that can mix local full-res media with proxy media linked to full-res media at the remote site. The user in the field is connected to his or her home base storage and servers over various public networks. In 2010 Avid presented a main stage technology preview that this year has started to come to fruition as Interplay Sphere. There’s been plenty of talk about “editing in the cloud”, but in my opinion, there were three companies at the show with viable cloud solutions for post: Avid, Quantel and Aframe. Although pricing is lower, at $50K for the software alone, it’s still the premium brand. It uses four high-end NVIDIA cards for performance and there’s also a new, smaller Neo Nano control surface. Quantel, who often gets lost in these desktop NLE discussions showed the software-only version of Pablo running on a tweaked PC. Smoke 2013 features a complete Mac-centric overhaul to turn it into an all-in-one “super editor” that still feels comfortable for editors coming from an FCP or Media Composer background.
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All at under $5K with the current cross-grade!Īutodesk has been quite busy redesigning its Smoke NLE for the Mac platform. In theory, if you bought Symphony and added Baselight and Fusion, the combination becomes one of the most powerful NLEs on the market. EyeOn is using Connection (a software bridge) to send Media Composer/Symphony or DS timeline clips to Fusion, which permits both applications to stay open. EyeOn’s Fusion software is probably the best and fastest, feature film-grade compositor available on Windows. Now they are expanding that to other hosts, including Nuke and Media Composer under the product name of Baselight Editions. FilmLight builds the Baselight color correction system, which was shown and recently released in plug-in form for FCP 7. If you are an Avid fan, this is a great deal and is probably the best bang-for-the-buck NLE available if you take advantage of the cross-grade.Īn interesting sidebar is that both FilmLight and EyeOn are developing plug-in products for Avid software.
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FCP (excluding X), Media Composer and Xpress Pro owners can move into Symphony for $999. Nevertheless, to guarantee some buzz, Avid announced a short-term Symphony cross-grade deal that lasts into June.
Although that was old news to the post crowd, it was the first showing for the software at NAB. Avid’s news was mainly broadcast and storage-related, since Media Composer version 6 had been launched months before. The NLE news was dominated by Adobe’s reveal of Creative Suite 6 (with Premiere Pro CS6) and Autodesk’s re-designed Smoke 2013. More on Thunderbolt devices later in this post. AJA is also building its Thunderbolt portfolio with T-Tap, a monitoring-only Thunderbolt-to-SDI/HDMI output adapter under $250. That’s right – a 4K version of the Mini already designed with Canon’s C500 4K camera in mind. You’ll note that there was a lot of buzz about 4K camera, but did you notice you need to record that image to something? Enter AJA – not with a camera – but, with the KiPro Mini Quad. Great to see that the development continues.
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And if you think free (or close to it) stifles R&D, take a look at the new, cleaned-up DaVinci Resolve 9.0 interface. Now that Grant Petty’s wizards have had a go at it, the newest versions in a nicely re-designed form factor are $2K for 2D and $4K for 3D. Prior to that company’s acquisition by Blackmagic Design, the top-of-the-line Teranex image processor loaded with options was around $90K. It also includes a copy of Resolve and UltraScope with the purchase.Īlong with that news was Blackmagic’s re-introduction of the Teranex processors. It uses ProRes, DNxHD or Cinema DNG (the Adobe raw format). I’ll leave the camera discussions to the camera guys, but suffice it to say that this camera was thought up with post in mind. It’s a $3K camera with 2.5K of resolution and 13 stops. It delivers on the objective of the original RED Scarlet idea. This year the buzz had to be the Blackmagic Cinema Camera. Boy, was I wrong! Once again Blackmagic Design stole the spotlight with democratized products. I thought this year was going to be quiet and laid back.
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