Adobe and Apple will survive just fine though because they offer so much else.
I'd say Avid and Smoke would be the most likely to go. If they keep it up, Resolve is going to be putting some companies out of business in the next couple years. I actually think that Resolve is heading more in the direction of Smoke, which is a finishing tool, but is also used by many as a one-stop app for editing, color and compositing. Now it's just a matter of adding the remaining NLE features and improving their already decent compositing toolset.
#How to use adobe speedgrade software#
There aren't many other color grading software features that Resolve does not have. I mean, for the most part, they've maxed out the color grading tools. by NAB 2016, it will have advanced compositing tools augment its current basic compositing toolset.
#How to use adobe speedgrade full#
I predict that Resolve will be a full on NLE by NAB 2015. What do you guys think of Dave's Speedgrade workflow? Have you used this software, and if so, what have your workflows been? Let's here your thoughts down in the comments! Additionally, as somebody who has been cutting with Premiere for the past few years, the time savings from the "direct link" between Premiere and Speedgrade might just provide enough incentive for me to make the jump to Speedgrade CC. While I'm still madly in love with DaVinci Resolve, the interface, tools, and workflow for Adobe Speedgrade are quickly growing on me as I learn more about the program and its legitimately deep feature set. That certainly doesn't seem to be the case, although the tracking from Dave's video is nothing too crazy. The tracking features are what surprised me the most, as I was under the impression, for whatever misguided reason, that Speedgrade's tracking algorithms were inferior to the other programs. One of the things that stuck me most while watching this video is just how powerful and versatile Speedgrade can be, especially with its ability to ability to detect, manipulate, and track a multitude of fine luma and chroma values all independently of one another. 26:26 - Isolating luma ranges (shadows/mids/highlights)
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