Timeline Analog 6. John Buck

Чтение книги онлайн.

СКАЧАТЬ involved, and when we landed on Final Cut we were all pretty happy with that as our choice.

      John Molinari saw the agreement with Macromedia as his best shot at shipping an affordable editing system on the PC platform.

      John Fierke had been with Data Translation as a senior engineer for 16 years. He was the obvious choice to lead a team, focused on making the Vincent hardware work with Apple’s QuickTime Windows API.

       I moved from the Data Translation group to the Media 100 group to start the Bobcat project. I was the main technical contact with Apple and Macromedia.

      A good-natured rivalry evolved between the PC and Mac engineers. Fierke recalls:

       We initially thought that getting our hardware, firmware, and low level driver code ported from Mac to Windows would be a huge challenge, but this turned out to be surprisingly easy. The Media 100 Mac guys started out mocking the Windows engineers with comments like, “It’s so complicated, you’ll never get it working on Windows” but when we got it completed quite quickly, they took credit!

       “Our design was so good” they said, “a monkey could have ported it to Windows”.

      Fierke needn’t have worried that the Apple engineers might not be Windows savvy enough.

       They knew, as much as anyone about the Windows pieces for QuickTime. The real challenge turned out to be dealing with a huge company 3000 miles away.

      Final Cut’s Michael Wohl recalls:

       Most of our engineers were Mac guys but the Windows version had priority for market share reasons and we worked to that. NT was pretty solid and it looked like with Apple's problems that it was definitely going to be NT.

      Then Macromedia hosted a meeting with Sony Corporation of Japan. Wohl recalls:

       We had spoken with Integraph about a complete turn key system and I even demonstrated a beta version on a turn key system for Toshiba at InterBee in Japan. Then we met with Sony and their video people because they wanted to buy the whole Final Cut operation outright.

       Along with Tim Myers and others, I demonstrated the current iteration of the product and we got a very positive reaction, until the executives from Sony asked us what we expected to charge for a single license.

      Macromedia had always maintained that it would ship Final Cut as a software package at around $5000 and let resellers bundle it with various hardware video cards for a total price of $8-10,000. Sony wanted to charge editors around $50,000 per licence.

      The meeting ended after price was discussed. Sony showed no further interest in KeyGrip.

      Конец ознакомительного фрагмента.

      Текст предоставлен ООО «ЛитРес».

      Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.

      Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.

/9j/4AAQSkZJRgABAQAASABIAAD/2wBDAAMCAgICAgMCAgIDAwMDBAYEBAQEBAgGBgUGCQgKCgkI CQkKDA8MCgsOCwkJDRENDg8QEBEQCgwSExIQEw8QEBD/2wBDAQMDAwQDBAgEBAgQCwkLEBAQEBAQ EBAQEBAQEBAQEBAQEBAQEBAQEBAQEBAQEBAQEBAQEBAQEBAQEBAQEBAQEBD/wAARCAn2BnIDASIA AhEBAxEB/8QAHgABAAEEAwEBAAAAAAAAAAAAAAkCAwcIAQQGBQr/xABwEAABAwIEAwUCBQkQDgcF Ag8BAAIDBBEFBhIhBzFBCBMiUWEycQkUQoGRFRYjN1J1obHRFxgkM1ZicnSSlLKztMHT8Bk0NTY4 Q1NXc3aCldLhJ

СКАЧАТЬ