The rudimentary difference is that MC and Symphony are both equally capable editors. (Color, Motion, FCP) (Premiere,AE,PS) are completely different apps. Symphony, however was attractive to an On-line facility who could afford the external hardware to support an On-line shop. You could have a full color corrector on MC but if you are grading interlaced footage on your progressive flat screen, you will be missing out on a lot of bad motion artifacts. You probably won't have a proper scope, well maybe a software scope, you probably won't have an HDCam SR deck so you wont be able to output your film to tape. The additional gear needed gets expensive. Dedicated developement teams are more likely if a product carries the cost, and of course, the BUZZ (hello Avid Marketing and DS) to make clients realize that a "high end" product is available and the correct way to properly finish films. Symphony is a great "Total Conform" box for many finishing situations. For heavier lifting, compositing, better graphics, DS is DA BOMB, but it certainly could be DA SHIZ NIT (thats better) if marketed and developed correctly. I'm starting to lose track of my original thought, because I have a client that wants to shoot 40 hours of EPIC 5K for a quick turnaround 2 minute piece.....but that's what I'm thinking anyway.
KEN
--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
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> --- In Avid-L2@yahoogroups.com, "oliverpetersvidy" <oliverpeters@> wrote:
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> << So again, why Symphony? I'm in the camp that says the product software should be the same and Avid's hardware should differentiate MC versus Symphony.>>
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> Why Color, Motion, etc as separate products? Shouldn't they all be in one application then? How about premiere and After Effects? Shouldn't they just roll them into one? And Discrete should get rid of separate products. Smoke on Mac should have everything the rest of the line has. Why have any differentiation?
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