Here
at Digital Media Net, we like to keep an eye on who's wandering around
our sites, so we keep some pretty accurate statistics. Now, don't get
me wrong -- we don't invade your privacy and keep records on who's doing
what every minute, but there's one person who allegedly spies on us
(and you too) all the time, and also knows if we've been bad or good.
Heck, the guy keeps track of our sleeping habits, for crying out loud!
So we figured we might be justified in turning the tables.
We have reliable information that tells us without a doubt that Santa Claus has been sniffing around this Web site. He's certainly welcome to read all our stuff, mind you. I'm sure Santa has some dazzlingly elaborate digital video productions he puts together, and needs to know all about the latest tips, techniques, opinions and coolest gear for creating digital content. He was also responsible for delivering lots of computers with digital video editing equipment hiding inside this past Christmas.
Anyway, I figured that since you're here anyway, Santa, I'd like to thank you for giving me those three great editing systems! Why did I ask for three systems? Well, I figured that if you couldn't see bringing me a million-dollar editing and compositing system, I wanted to leave you an alternative or two. But you must have thought I've been pretty good! You went ahead and brought me all three! Here they are:
Good: I just took a close look at the RT2000 by Matrox, and this is the new cheap-o NLE system to beat. It may even be shipping soon, perhaps by the end of the year. It has lots of real time effects, including my favorite, a dissolve, and plenty more neat features that'll keep me busy well into the new year. Too bad the darn effects have to render at 2x-3x real time when I'm sending them back to DV, though. But, if I'm just playing back to analog tape via S-video, it's all real time. Certainly well worth the $1299! Wow Santa! I'm having some big fun with this one!
Better: How about that FAST six-o-one? It's chic, it comes in basic black, it's fast (pardon the pun, but it is) and it's MPEG-2 all the way. My favorite part of it is the software, FAST Studio, which is what's left over of the forever-delayed "blue" project that never shipped and probably never will. Anyway, the interface is so configurable that I'll think I'm sitting in front of a black-colored Media Composer, or Media 100, or Premiere. Hmm. Those are my three favorite interfaces! Anyway, the thing reminds me of a dark smoky jazz nightclub in Germany where all the music is played at just one tempo: Fast.
Best: Well shoot, you went all the way, Santa baby! Thanks for laying that Quantel Henry Infinity right down under this tree right here. So what if it costs a million dollars? It's still the fastest, cleanest, and most sophisticated uncompressed compositor in the world. And hey, if I get fired from my job because I'm playing with it all day and night, I'll just start hiring out the sucker for a thousand dollars an hour! It's better than pimping my own personal hooker! But seriously, folks, it sure is nice to have one of these babies: Unlimited layers, kick-ass color correction, gestural editing with a stylus and super-fast response. Next I'll hook it up to all the other Quantel devices via Quantel's special networking toys. But now, Santa, I want them all. Quantel's Editbox, Hal, Editbox Magnum -- maybe you could make an extra, millennium trip -- just bring them all and I'll hook them all together. That'll count as one system, right? Right? Eee--ooow! I think I've been overcome with the spirit of the season. Or is it just plain greed? Not to worry, Santa. I've been very very good.
Charlie
White has been writing about digital video editing since it was
the laughingstock of the post-production industry. He's an Emmy award-winning
producer and director for PBS, and producer of this Web channel. He
hasn't figured out the Santa Claus thing yet, so don't anybody spoil
the illusion for him if you send him a note at cwhite@digitalmedianet.com.
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Digital Video's Pizza Syndrome
HD Video Editing is Here. Now.
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