Posts Tagged ‘Apple Color’
NAB 2010 – Initial Thoughts
What are the big items that have caught my eye watching Twitter feeds and reading Press Releases on Day 1 of NAB? Here are my (purely selfish) top three:
DaVinci Resolve on Mac
When BlackMagic bought DaVinci last year here’s what I wished for this NAB:
- DaVinci Resolve.
- For Mac.
- Under $15k.
I figured that BlackMagic would price the Resolve near Smoke on a Mac. I underestimated Grant Petty, CEO of BlackMagic. Grant has built his company by pursuing disruptive technologies that are priced aggressively.
Here’s what Grant delivered to me this NAB:
- DaVinci Resolve.
- For Mac.
- Under $1k.
Even better, Resolve on Mac (unlike Smoke) when compared to its full-blown Linux counterpart doesn’t hobble the software. It doesn’t hold back features. It doesn’t require a Support Contract. It’s only restriction – 1 GPU; according to the Press Release, the GPU limitation is due to lack of support for InfiniBand for Mac.
Fini, my color correction company, has a 9-month roadmap that I’m executing as I re-tool the company and better position it to compete in the market I’ve targeted (more on that as The Plan moves forward). Resolve on a Mac couldn’t fit in more perfectly. I’m beyond stoked.
The only question I haven’t gotten an answer to: Will Resolve on Mac support RED natively in 2K and HD workflows? It really needs to.
Avid Buys Euphonix
The other news that grabbed my attention was Avid’s announcement of their intention to buy Euphonix – maker of outboard control surfaces.
I’m not yet sure if this is a good thing or not.
I’ve read a few people opine on this topic – but I think most are missing the point of this acquisition. The Euphonix secret sauce is their EuCon protocol. It’s the protocol that controls the interaction between the hardware control surface and the software being controlled. Their product that most interests me, MC Color, is buttery smooth… and it’s EuCon that’s responsible for the feeling that the software, via their hardware, is an extension of your brain. The immediacy of even the most subtle inputs is fantastic.
In the past, an acquisition by Avid was where great products went to wither away. Avid over the last two years seems to have turned over a new leaf and this year has had a great new release.
So now? What is the future of EuCon? I’m nervous. I just don’t know.
I can only hope that Avid decides to continue offering the amazing value that Euphonix seems to be built around.
Me -> Apple: In ProApps, Silence Is Not Golden
Apple doesn’t get it. I don’t build my business based on if I want to operate a Linux-based business or a Mac-based business. I don’t really care what new features the next version of the Mac OS is going to offer. Or when. On this count, Apple can be as secretive as they want.
I build my business with software products designed to allow me to provide amazing value to my clients. If I’m going to plan the direction of my business, I need an understanding of where I think the software I use is going to go. Currently, my software happens to be owned by Apple.
Apple, extending it’s corporate Cone Of Silence around the Pro Apps division, offers me nothing but a blank expression and puckered lips.
And a frustratingly long 2 year development cycle.
So what am I to make of Apple’s silence concerning their ProApps products?
Is it because they’re ready to leap-frog the competition?
Or does de-coupling Final Cut Studio from big events like NAB go counter to Steve Job’s excellent quote: “Real Artists Ship”? With no more external target dates, is shipping Final Cut Studio becoming internally de-valued?
Here’s what’s so surprising to me after Day 1 of NAB 2010:
More and more I’m caring less and less about those answers.
Premium Color Grading
- Color Grading elicits emotions,
Emotions connect you to your audience,
Fini grades for emotion
- Hand-craft your images, shot-by-shot
- Select your look: Natural, Stylistic, Something else?
- Deeper, more impactful adjustments than basic fixes and contrast tweaks
- Complete confidence in your Broadcast, Cable, Festival, and BluRay deliverables
- RED and HD workflows designed to preserve color fidelity
- Final Cut Studio expertise
- Compatible with Avid workflows
- We love solving problems
- We love exploring the possibilities with our clients
- No hidden fees or surprise chargebacks
- Firm bids, clear quotes
- External scopes for quicker corrections and Broadcast Legal assurance
- Colorist Control Surface ensures speedy work with better results
- Functional room without frills
- Off the shelf systems
See It For Yourself
Watch our demo reel, judge for yourself
Guto Barra, Director/Producer
"Your expertise and patience proved to be essential assets to finalizing our documentary, especially under the huge time crunch for our MoMA world premiere."
Chris Ripper, Director
Ressurection Man (in post-production)
"I love how you add production value to the feel of a shot not just "color"and create a mood appropriate to the content. And pushing your color a certain direction so cleanly. Impressive."