AND THE WHOLE IDEA OF OFFLINE HAS CHANGED. Clients want to see more earlier in the process and the whole review and approval cycle is becoming more like print.
It shouldn't be necessary to do so just to get a title or graphic to linearly scale from 80% to 100%. Or as previously mentioned to get soft shadows on basic DVEs or keys. Or to not risk image quality creating basic PIPs. Or to do post key color correction. Or to slap a vignette or other soft matte on something. Or to simply reposition or animate a logo or other graphic. Or to have some better oversized image support for moves on stills involving rotation or key framing. Etc.
The above is not where DS proves its worth. It does those things well but most professional tools should. DS has features and wrinkles which truly blow composer/symphony away. So everything changes with visually intense projects where DS can flex more of its muscles. Then the overhead of moving projects via AFE becomes worth while. DS is really cool and does great things. Especially in large resolutions and deep bit counts.
Not to forget to mention keeping all your upgrades on the same page could be a challenge so that as features are added to Composer/Symphony they are supported by DS.
How does DS handle AMA media or the new multi frame rate timelines from Composer?
Is there CURRENTLY a true software only DS system which can be purchased individually from the core product? What happened to DS assist? What if I want 4 seats of DS software working around 1 seat of full DS?
Personally I think Avid is poisoning their brand. Outsiders exposed to the quality based shortcomings of Composer/Symphony may rather cast their lot with Smoke and Autodesk. They have a damn near sterling reputation when it comes to finished output. Anyone sitting in on a Composer/Symphony session may just walk away thinking Avid just doesn't get it when it comes to finishing, effects or quality. If they can't do simple things then how can they put together a much more complicated system for doing major high end finishing and effects?
It is in everyone's best interest that Avid gets it in gear with improving these core areas on Composer/Symphony. It raises the bar for the brand and helps DS along too.
There are even more ways I feel Avid has dropped the ball and has overly complicated DS as a product and sales pitch. Doesn't seem like they are all that interested in selling it either.
What do you think Avid needs to do when it comes to DS? and its co-existence with Composer?
Chris MagidRTVF
--- On Mon, 11/16/09, Tony Quinsee-Jover <tony@hdheaven.co.uk> wrote:
From: Tony Quinsee-Jover <tony@hdheaven.co.uk>
Subject: RE: [Avid-L2] Re: And Now a Word About Online Finishing
To: Avid-L2@yahoogroups.com
Date: Monday, November 16, 2009, 11:58 AM
From: Avid-L2@yahoogroups .com [mailto:Avid-L2@yahoogroups .com] On Behalf Of
chris magid
"However it is going to be relatively hard sell to recommend moving your
sequence to DS..."
Why? Cost?
I'm interested, seriously.
T.
HD Heaven Limited (company no: 04620550) is registered in England and Wales
at Branston Court, Branston Street, Birmingham BL8 6BA
[Non-text portions of this message have been removed]
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