Why Vegas is losing me and others

Comments

DrNeb wrote on 1/19/2019, 10:44 PM

Hmm, I get some people's frustration...I do, but I've been using Vegas since 2000 - so before it was Vegas and computers couldn't really do the sort of sfx laden animations I do now. In fact, I broke a couple of Maxator 130s trying to shove **** up a very small pipe lol. I'm also what you would call an expert on cultural production - both historical and technical. I have 4 degrees including one in research! What bugs me about this post is the idea that software just works...a clever lie to use a Dr.Who phrase :), that Apple propagated. Sure, Crapple and propriety software on Crapple machines do play reasonably nicely...reasonably, but if you buy one of Crapple's overpriced paper weights which are really media consumption machines (Lev Manovich, digital theorist) and not creation machines...you will see the spinning silver ball of death, just as you get the odd crash on a Windows machine. And here is where the real problem normally is...with Crapple and Windows - it's an under-powered system with bottle necks that causes 8/10 issues or crashes in Vegas - I base this on nearly 20 years worth of experience and research. 1/10 issues on Windows machines are caused by incompatible hardware and software...or worse cheap hardware and 1/10 crashes are bugs within the software.

As for some of the issues the OP brings up - transitions...do you have pro-suite, if so ProDad has 100s and they're great and you can create your own too. Colour correction tools...hmm well a good cinematographer will fix 9/10 problems as their filming. The windows that house all the bits and pieces within Vegas are fine too...perhaps with this caveat that a duel monitor helps. I'm not even sure what the sticker layer is about...it sounds like a kiddy creation tool to me ;).

If you read between the lines of the OP, I think the issue is this is a person who is wedded onto the overpriced Adobe paradigm where you need I don't know how many programs to do what Vegas can do as a whole program. In Vegas I have all the fxs I need to create ******* Star Wars so long as I have the full suite (so hit film). And this isn't hyperbole, the technological-eco-system has matured and with a little know how anyone can make Star Wars these days, and Vegas makes it easier than ever. Even though Vegas's 3d compositing system seems limited, it actually is very usable too. In fact the limitations, have allowed me to create a 3d depth technique within my animations without the need for a 3d camera or glasses...this technique is still a little rough, because I only stumbled across it in the last week or two, but to have two or three images working in concert and composited together which then adds 3d depth perception is pretty cool. I just don't think you could have stumbled on such a technique using Adobe or Final Cut, and yes I have used both of these programs...don't get me started on the dog's breakfast of Final Cut! And if you need more 3d compositing tools...there is always HitFilm which is only 300 odd dollars. Heck, the full Boris Continuum is only 600 odd dollars.

If I had t ask for anything in regards to Vegas, it would be to update the audio to full 64bitfp including audio recording, because as a specialist on the the analogue emulation experience. But I'm being selfish, because 64bitfp audio along with VST3 and a decent midi input screen would allow me to drop Sonar and use only Vegas for both sound and vision. I also use Blender for my animation, but having one program to do the majority of my work would be about all I could really wish for in regards to Vegas.

Finally, the price...sure I've spent just over 1000 dollars on Vegas since 2017...and another 400 dollars between 2015-17 but I understand that without capital our software will never continue to be developed. And I can tell you that I do not want to get into software encoding and design...I may have technical abilities and degrees - but I come at cultural production as an artist as in the romantic and modernist tradition. One of the biggest issues within contemporary cultural production is artists who have no technical skills, and technicians thinking their artists. Sorry, I probably digressed in that last point lol.

 

Ben