I think it's important to keep in mind that Symphony was and is the best
scheme for CC for episodic TV, but it isn't really deep enough for most
feature/high end effects CC. I would think that enabling the ability to
work with things like 32bit EXR, floating point and custom LUTs would
require a pretty significant re-write. And where does that leave DS?
Given that the TV market in the US is headed in the opposite direction,
toward less expensive, run and gun, even youtube type programming, I
don't see how Avid can justify continuing to develop a quality TV only
CC solution. After all, what do you suppose the CC budget is for "Ace of
Cakes"? (don't mean to pick on them in particular ;-)
Anyone know what kind of performance one might expect of Symphony
features without Nitris DX hardware, could a high end GPU alone work
anywhere near as well?
--
Pete O
POP Pictures
Orlando
On 2/20/2011 4:17 AM, Dylan Reeve wrote:
>
> I'll summerise my contribution to the forum thread...
>
> I have long thought that Symphony should be killed (or Media Composer
> renamed Symphony, that way Symphony owners don't feel like they're being
> downgraded) - all Symphony's features become part of the new product
> (whatever we call it).
>
> Then, and here's the kicker - the colour correction gets an immediate
> upgrade by having SpectraMatte and AniMatte functionality built in to it.
>
> > From this point on Avid focuses of two core professional post-production
> products - Media Composer (or Symphony) and DS.
>
> Dylan Reeve
> http://dylanreeve.com/
>
>
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