From the latest Avid infocus online newsletter:
http://www.avid.com/profiles/060109_lost_dsnitris.asp
Bruce Motyer, online editor at Complete Post, concurs. “Lost relies
heavily on repositions and [Avid DS] Nitris is an extremely efficient
tool for this sort of work. I think it’s a fabulous box,” he says. The
automatic conform from the offline cut done on the Film Composer system
makes the finishing process that much faster. Motyer, who has been
working with an Avid DS Nitris system for more than four years and has
extensive experience with Avid Symphony and Avid Media Composer,
appreciates the easy workflow enabled by the Avid system’s common
interface design and broad-scale systems compatibility.
He also speaks highly of the Avid DS Nitris system’s graphics toolset,
media management, and effects and transition capabilities, among other
features. Of compositing features, he says: “The tree workflow in the
compositing layout is especially useful because its compositing nodes
provide an intuitive left-to-right workflow that makes even the most
complex compositing work easier to do.” However, it’s the Avid DS Nitris
system’s breadth as a complete finishing solution that he appreciates
the most. “Nitris is capable of so much more than a conventional linear
editing bay. With capabilities like extensive color correction, a newly
added shot can be easily matched against material that the client
already has in the timeline. Things like boom removals and dirt fixes
can also be done quickly from within the timeline, which saves time that
would have otherwise been spent working in a separate system. This can
make a big difference when the client is up against a tight deadline,
and it’s something that keeps them coming back to Nitris.”
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