> chris magid wrote:
> ...Terry opined that it may be 18 or 24
> months before substantial differences could
> emerge. .....
> ...Anyone have any suggestions for Avid to
> help them find features to make Symphony
> stand apart from Composer....
If it truly is 18-24 months, then kill the product, because it's toast in the marketplace anyway in that time frame. Or just bundle all the Avid hardware into one turnkey box and call it Symphony (even at a reduced price). Forget Nitris DX with add-on cards for MC. The only justification for Symphony over Media Composer is improved performance through custom hardware - or by leveraging others' gear, such as with multiple NVIDA CUDA-enabled cards, for instance.
If it's just more bells & whistles and codecs added to the existing toolkit, then those need to go into MC anyway, simply to stay competitive with Apple and Adobe. That's a never-ending battle. For example, what about *current* RED support or LUTs for ALEXA Log-C, Sony S-log & HyperGamma or Panasonic FilmRec? Come on, you can now do uncompressed 4K with EDIUS for goodness sake!
HDCAM SR Lite support is nice, because Avid got there early, but it's not really out yet. How about improved relinking that works at least as well as in the other NLEs? The one feature exception, I would offer, is Stereo 3D. If it has a future, a finishing version of it needs to be in Symphony and doesn't need to be in MC.
In the long run, Avid needs to be re-imagining the NLE, just as Apple has done. Just as EditShare/Lightworks is attempting to do. If we all truly think that FCP X will be "iMovie Pro" then this is Avid's opportunity to do the next-gen NLE correctly. And that isn't by tacking on features to the existing structure or even making the code 64-bit within the same aesthetic and feature set.
Use that 18-24 months to be bold, because Apple will undoubtedly fill in the gaps of FCP X during that same time.
- Oliver
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