Okay now I can sink my teeth into this thread. The multiples of OKI DOG stock are incalculable. Unfortunately they have more to do with methane production and global warming than profits. That being said what in the world is/was wrong with PEGS. For me it combined the three different sections of CMX into one universal spot for motion control, Emem and GPI triggers. I can see problems with the motion control as far as a reliable matchframe edits but other than that what shortcomings were there to PEGS?
P.S. I was always told that both Ampex and Sony edit systems really did perfect motion control matchframing and I always equated that to the fact that they both built the tape machines and had a more intimate knowledge of the transports and controlling them. I never ran an ACE editor but I did run a Sony 2000 at the Nagano Olympics and my first test was to matchframe a 100% reverse edit and the system didn't match perfectly at all. I asked the British editors, who were solely Sony editors avoiding the GVG edit systems, and their answer was, "Why motion match when you have preread?" So I never really found the Sony, at least the 2000 editor to be perfect in motion matchframe. Were the Sony 9100s better at motion match than the 2000s?
---In avid-l2@yahoogroups.com, <mikeparsons.tv@...> wrote :
When I discovered chili beef and cheese pies my life was complete. I still lie in bed awake at night thinking about those pies.
The closest I ever found outside Australia was at the Australian pie shop at Venice beach but it was a poor imitation.
But to remain on topic comparing avid and Adobe sounds like a reasonable thing to do until you sound a second to think. The prepress/desktop publishing revolution had a decade start on the digital video revolution, that combined with the far greater need for still frames than motion pictures - every product label, ticket stub, poster, user manual to even out edit systems and so on means the guys who sell the stuff to make the stills will always be bigger than the guys who make pictures move. Same with still camera sales vs video cameras.
What Adobe did was to leverage the photoshop gateway drug to draw people into their suite of tools. What stuns me is that photoshop of yesteryear beat out way smarter software like xres and live picture which had they succeeded would have led us all into a super convenient world of true resolution independence. Note that the reason it won was entirely down to ps 2.5 allowing plugins and then layers in ps3. Kai's power tools made adobes fortune and I guess owning the fonts didn't hurt either.
I've been saying it on this list for about 20 years - avid should bundle all the avx plugins and bump the price a few hundred bucks and own the effects editing market.
But as amazing as ps is I've tried to use premiere and I just can't like it. I've tried editing in my super powerful flames which I love for online and I can't enjoy it. I sit at an avid and it's fun to cut and takes me back to my youth - I'm pushing pictures around not using a piece of software. At the end of the day I'd rather buy an edit system from a company whose entire existence, whose sole revenue, comes from making great edit systems rather than one distracted by designing telephones or print layout programs.
Avid drives me nuts sometimes (like when I lost one of my permanent license upgrades as I couldn't pay them to upgrade even after 5 weeks of trying) but so does Autodesk, so did Quantel and Abekas and don't get me started about how worked up I used to get with Cmx... Never had a bad day with GVG though - oops yes I did I totally forgot about PEGS and Sabre.
The point is I think we care passionately about these tools because the nature of what we do isn't so much that we use them, they in fact become the place we go to work. Inside Media composer is a place we visit rather than a piece of furniture. That's why we panic when the house prices go down or someone redecorates without asking.
Mike
Posted by: bigfish@pacbell.net
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