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Avid Media Composer 7 Crack For Macbook Pro.Ignoring it isn't going to make it go away, and it certainly isn't a response with effectiveness. And it has been a very good selling point for FCP. But it's there and not going to be removed. Mainly b/c it's a finishing platform.Īs for MC, perhaps it's not "fair" that Apple decided to give away Final Touch.
Color is a better CCing platform than either DS or Symphony, and that IS an embarrassment.Īnd yes, I think anyone who owns a Symphony NEEDS better CCing tools. The addition of color-based secondaries to DS is a step in the right direction, but it's not enough. This is very appealing and has created a threat to Avid that it has yet to address, even in its highest-end systems costing upward of $70K. You can see in how MC works that it assumes audio and grading are done elsewhere.Ĭolor gives FCP off-line to on-line capabilities in the same production suite. When I say the "off-line to on-line paradigm is fading away," I'm talking about using completely separate systems for off-line and on-line. I can't believe it's that costly to add some better CC tools to Symphony and trickle a few down to MC.īut Terry, I know I'm preaching to the choir. They couldn't afford a da Vinci, but they could a Symphony or DS. And selling just an additional 1,000 copies of MC would bring in over $1 million of revenue to Avid.Īnd there are quite a few smaller production companies who would love to move further into the finishing game, especially as the Red is offloading image processing to post production. Well the addition of Color has cut significantly into Media Composer sales. The addition of Color to the FCP suite at no cost would never happen in any business other than one run by what some people call a visionary and others call a nut. I don't blame them for putting their resources where they feel they can make the largest ROI. How many more systems will Avid sell with an improved CC? Of course they will sell me, but will NBC jump on it? Or would supporting more formats and having better ISIS and Interplay support appeal more to NBC?Īt the end of the day Avid is a business. Why has Avid been so willing to relinquish that advantage for so long? But it used to be the editing platform with the best color correction toolset. Now I know that Avid's retort has frequently been that it's the best editing platform. It is true that my Rolodex is not filled with colorists.
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And I know professional colorists who do use Color, I've only met one who uses Symphony and none who use DS. But Color has better vignetting than Symphony and a control surface interface which no Avid app has. I am aware that DS offers an extensive toolset that make it very attractive for the right user, and that color correction is truly integrated into Symphony (instead of a separate app like Color is). When FCP has grading tools that are quite possibly better than what's found in your high-end finishing solutions, you should be very concerned. I came up with the idea of using a DS Assist Station, but that's no longer sold, and may not have been a truly viable option anyway.Īnd in truth, for grading only, Color is probably better than either DS or Symphony.
I know there are workaround to get close to Color by using various layers and mattes, but it's not nearly the same.Ĭolor is so effective, that one of the biggest Avid resellers here in LA recommended to me buying a Mac and Final Cut just for Color, because Avid has no alternative. When I've mentioned Color to Avid folks here in LA, I hear "Well you know it's a separate app." The retort to that is what separate app does Avid offer that is comparable to Color? It was knockout blow to Avid's color correction supremacy.Īvid's response has been to essentially ignore that Color even exists. Final Touch was a standalone grading and DI tool that cost a few to many thousands of dollars, depending on how it was configured. But all that changed with Apple's integration of Final Touch, a.ka. Avid used to be known as having superior color correction to Final Cut.
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