R.I.P. Shake

[Paul Lee]

so sad. shake, I will miss you. At least, that's what I will say, even though our affair continues...

 

[Ivan G]

I don't know why there are people here with their hopes up. Vegas has been doing 4k for sometime and FCP is not even close. DVDSP, still no Blu-ray. Motion can't even touch After Effects.

I must admit the new (FCP) timecode window looks good. But did that really have to wait this long?

I'm not even curious to what Apple going to release anymore. I'll just wait until they do!

 

[Scott Crawley]

I don't know why there are people here with their hopes up. Vegas has been doing 4k for sometime and FCP is not even close. DVDSP, still no Blu-ray. Motion can't even touch After Effects.

I must admit the new (FCP) timecode window looks good. But did that really have to wait this long?

I'm not even curious to what Apple going to release anymore. I'll just wait until they do!

I can tell you why my hopes are up... These are some of my tools, and I want to see them improve... that is one reason.

FCP is not even close to doing 4k? I don't know how anyone outside of their development team would know that. I'm not so concerned with 4k editorial tools though, since there is no real need for 4k output yet. I'm more concerned with the higher resolutions and color depth in color grading, and that appears to be happening.

DVDSP hasn't had a meaningful update since 2.0, so on that score I agree with you completely.

Motion and AE is an apples/oranges argument IMHO.

The primary reason my hopes are up is simply this: Now is exactly the wrong time for Shake to disappear. With 4k+ shooting so close to becoming indie mainstream, a compositor like Shake is poised to become extremely relevant to a substantially larger audience.

I've been dying to have a real reason to use Shake, but up to this point my work has been almost exclusively DV. In a DV world, climbing the steep learning curve of Shake is an undertaking of diminishing returns and it seems like overkill. This is particularly true when you are already familiar with AE.

As I prepare to move into 4k the whole dynamic changes. This is why I have my hopes up. I'm concerned that I will finally have a shooting platform that makes Shake relevant, but will no longer have access to the software. I don't know if I should run out and grab a copy, or hold on to my dollars just a little longer.

 

[Charles Angus]

I've been dying to have a real reason to use Shake, but up to this point my work has been almost exclusively DV. In a DV world, climbing the steep learning curve of Shake is an undertaking of diminishing returns and it seems like overkill. This is particularly true when you are already familiar with AE.

Funny, I often think similar things about AE as a Shake user - I can't see any reason to climb the steep learning curve.

Started learning AE and Shake at about the same time (AE a little earlier), and quickly left AE in the dust as I realised that Shake is just easier for compositing/quick touchups/etc.

 

[Emery Wells]

Now ... if we can start a campaign to convince THE FOUNDRY to write an NLE from ground up ... very quickly we would no longer have the just the big three A's ... we'd have an F an A's!

Id join that campaign. Why none of the desktop compositing apps have adopted a timeline/nodal combo a la Flame is beyond me. I think everyone would agree The Foundry has been doing a fantastic job with Nuke but any workflow that requires working on more than one shot at a time is still a pain.

Nuke has already eclipsed Shake so while it's sad to see it go, it certainly won't be missed.

 

[Scott Crawley]

Well, this was a first. Never before have I rushed out to buy a product at the end of its life. I'm glad I did too.