Tony; What you say is true about the high end stuff. However I will leave that to you and Joe to argue about, as you will both get to the truth posthaste.
By art I mean the variable input from the editor, who picks his shots, number opf frames to use, lighting mods etc and has the experience and artistry to do this. I do not mean just the cut and paste done with the computer, as anyone can do this technical part. The rendering is faster than you think these days on Wintels.
As to knowing what I am talking about I have been exposed to the above fields, and understand the basic mechanics but have not worked in them, but my association with my friends in the industry has educated me to a degree,, and might be a bit vague on terminology. However I have witnessed the huge explosion of Wintel NLE suites. Joe's comments are in conflict with your comments, but I will let you and Joe edit that. And my friend the Apple dealer has told me that sales have dropped to such a high degree for Apple that he has been forced to sell Wintel NLEs to at least keep the business from his client base. He gets buyers buying 5 Wintels instead of one Apple suite(the software costs more too), and thus the client removes a bottleneck as the pricey Apple suites were always busy, now they can produce more quickly.
I am aware of the difference between the composition of individual graphic images, say for a magazine ad, and the animation of a series of such graphic images for an advertising cartoon for TV, and the frame by frame editing of a video production, adding 60 frames from that tape, 600 from this one, etc until you get the entire video production assembled. More,or less the same as with film, but there you actually cut and splice the film. In addition there are large differences in the graphic pixel numbers to render one frame for 'the toy story' for 35MM film versus one for a TV, and film renders are out of Apple and Wintel areas(with reasonable render times, the Apple and WIntel can do it with 2 weeks?? to render a frame.)
Bill |
