Amateur and Professional Video Editing
Amiga was one of the first commercial computer platform to allow amateur and professional video editing, due to its capability in connecting to TV sets, and deal with Chroma-Key, Genlock signal, at full screen with overscan features, and a good noise-gain ratio. Amiga and its video peripherals (mainly Genlock boxes and digitizing boxes) in the nineties were available at reasonable prices and then this made the Amiga to became one of the professional video market leader platforms. It was also capable of dealing with broadcast video production (Newtek VideoToaster), and in the age around the 1992-1994, despite of the Commodore demise, Amiga knew its golden age as a professional video platform and there were available for Amiga a vast amount of any kind of video software, graphic facilities and reselling of any of gfx and image gallery data files that could be applied to video productions. Amongst these software it is worth mentioning the main Amiga video-editing programs for desktop video with both linear and non linear editing with 4.2.2 capabilities as the ones from Newtek available with VideoToaster Flyer external module for Video Toaster and just called NLE! (Non Linear Editing), Amiga MainActor, Broadcaster Elite, MovieShop for the expansion Amiga cards PAR, VLab Motion, and VLab Pro.
Read more about this topic: Amiga Productivity Software
Famous quotes containing the words amateur, professional, video and/or editing:
“I have been reporting club meetings for four years and I am tired of hearing reviews of the books I was brought up on. I am tired of amateur performances at occasions announced to be for purposes either of enjoyment or improvement. I am tired of suffering under the pretense of acquiring culture. I am tired of hearing the word “culture” used so wantonly. I am tired of essays that let no guilty author escape quotation.”
—Josephine Woodward, U.S. author. As quoted in Everyone Was Brave, ch. 3, by William L. O’Neill (1969)
“The relationship between mother and professional has not been a partnership in which both work together on behalf of the child, in which the expert helps the mother achieve her own goals for her child. Instead, professionals often behave as if they alone are advocates for the child; as if they are the guardians of the child’s needs; as if the mother left to her own devices will surely damage the child and only the professional can rescue him.”
—Elaine Heffner (20th century)
“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . today’s children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)
“In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It’s the drowning out of false voices.”
—Don Delillo (b. 1926)