A Digital Media Net Newsletter for Creative Mac Professionals
October 19, 2001
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Mac Industry News:

Formac Announces 17.4-inch ADC Flat Panel Display for Mac
17.4 inch LCD to ship for $899

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The Foundry's Tinderbox 2
Visual effects filters for Adobe After Effects
 by David Nagel
 There are really two categories of visual effects plugins for compositing applications. You have canned special effects and general-purpose image manipulation tools. Neither one is inherently superior to the other. But, in large part, canned special effects have limited applications for professional use. After all, once a special effect has been used in a widely distributed piece, subsequent uses are just copies. On the other hand, there is the fact that so many general image manipulation tools offer sub-par quality and dubious usefulness.

Apple Final Cut Pro 2.0
Nonlinear editing system for Macintosh
 by Stephen Schleicher and David Nagel
 First off, by way of introduction, I should note that I'm not a Mac guy. I'm not prejudiced against the Mac, but I'm not going to praise a piece of software just because it runs only on the Macintosh. I've edited on the Mac and Windows in the past, and I've experienced systems ranging from Avid and DPS to Media 100 and Adobe Premiere in a professional capacity.

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Apple Final Cut Pro 2.0
Nonlinear editing system for Macintosh
 by Stephen Schleicher and David Nagel
 First off, by way of introduction, I should note that I'm not a Mac guy. I'm not prejudiced against the Mac, but I'm not going to praise a piece of software just because it runs only on the Macintosh. I've edited on the Mac and Windows in the past, and I've experienced systems ranging from Avid and DPS to Media 100 and Adobe Premiere in a professional capacity.

State of the Art: The Publishing Fiasco
How the creative community needs to respond
 by David Nagel
 In case you hadn't noticed, publishing has found itself in a rather sorry state of late. And I don't mean just Web publishers, but everyone—from the giants of print publishing to newsletter producers to independent contractors who depend upon the publishing industry for their livelihood. Bad times all around, financially speaking.

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