In that case, the new BMD panels decidedly have the 1998 look and feel. Obviously Dermot can speak for himself, but it seems, he is talking about the ergonomic design of the panels in conjunction with ergonomics of software. It's akin to hand stitching of leather on Rolls Royce vs mass produced car seats on Toyota Prius. On the other hand, FilmLight panels are made to order and are much more of hand made quality. It only makes sense, as these panels are made on a mass produced industrial scale by a company, that specializing in producing hardware. that seems to be pretty large lost oppertunty for BMDĬlick to expand.I have no doubt, that built quality for new BMD panels is excellent. in every possiable way it's clearly heads and shoulders above the mini. thing is soooooooo much better in every possiable way, note the lower smaller and totaly readable screens and the context sensitive buttons that change as your pages change, every thing is there, nothing left out, and it's mappable if you wish to change it for your prefered working style. this is what the mini could have been every. Untill there's something worthwhile, i'll keep on with my work arounds, my cleints are cool as both XKeys and Twister are very stable and trouble free in a session, they don't give a red rats ass about what the surface looks like, they care about the image on screen and the invoice at the end of the session - both seem to make them happy. and not in a good wayĮnd game in my suite is the small & low panels are a better fit, and i don't have to monkey about with XKeys or Twister as soon as i turn on Baselight, it mapps brilliantly to the Artist Color when put beside the shear elegancee and thoughfulness of the Slate, both Advanced and the mini look very 1998. gotta wonder who thinks through this stuff. If someone would sell me something with the elegance of Slate i'd be inīig panels are not a good fit for me, i want a x-large wacom front and centerīoth teh Advanced and the new mini are needlessly deep, and high - i'd have to raise my UI monitors to clear the top of either, and then raise the broadcast mon to clear the top of the ui mon's, and then get to bend my neck all day. Think of what a client would say if they came into a session and looked at a home-brew panel like this the ones I work with would blanch, excuse themselves, and then head for ze hills. Trying to figure out a way to knock it down further is just nutty to me. They cut it to $30,000, then a bunch of 3rd party panels came out between $7000-$3500, even $1500 for the Avid Color. I don't have a problem if it's a hobbyist tinkering around in a garage, but if you gotta do serious work, you need a serious panel that's always going to work and never going to slow you down.Īgain, you have to look at this from the perspective that 8 years ago, a Resolve panel would cost you $50,000+. Even the small panels that Avid/Digidesign makes for Pro Tools are infinitely better than these $300 Guitar Center MIDI kludges. I have the same feeling about using makeshift MIDI panels for mixing and editing in Pro Tools: it's a lot better to buy a purpose-built panel made to do that one thing and to do it well. But it's hard to fault the Baselight Blackboard 2, and I also think it's possible to work very, very quickly on the daVinci Advanced Panel. I've used so many color correction panels, they all tend to blur together after 35 years. Click to expand.My joke is like it can be similar to using a joystick and a keyboard to drive a car (a real car in the real world, not a game): I guess it could be done, but jesus, it's a lot easier to use a steering wheel and a gas pedal and a brake.
0 Comments
Leave a Reply. |