Loc: Sunnyvale, CA, USA
Well, a lot of stuff is pretty snappy, and with a fast pipe I can tell there's a lot of good remote and local caching going on and a lot of stuff happens instantaneously on the webservers with the only lag in HTTP negotiation and download. But some stuff, like serially piped processing final outputs can be slow, as well as a lot of filter setups, and the workspace setup in moving a file from editor to editor, so maybe their internal cloud is stuck on parallel solo multi-cores, if that, instead of parallel commodity multi-procs? Or the code could use some work? These guys sound like they're in it for the haul, though, and claim no money problems, so it's bring down the offload latency or be road pizza. Life in the fast lane. You'd think they could only improve.
My stuff is simple, so it works for me. Just some bit depth reductions, layer blends, effects, etc, a little text.
All I need to do is some final art with a layered look, elegant dirty entrophy erosion decay stuff. I'm just reverting to an accident from twenty years ago, when I did a pencil comp for a customer, scanned and reduced bit depth to line art, just to give an indication of what it would look like. They went apesh!t over the digital comp and then I started noticing that it looked pretty cool, so we were all happy and ended up using the digitized comp.
So, that's all I'm doing now, having fun, making these block print impression-like print things from foam and a chopstick whose end is sanded off to not tear the foam but merely leave an impression. Ink it with a roller and stamp onto paper. Some pencil drawings. Some pencilled type indications. Then, instead of scanning, just shoot this stuff with a digital camera, load it into the Aviary editors, screw around with it, mostly knocking down the bit depth, dirty noise, various layer blends, occasionally importing some layer art from a URL or a local library, some text effects, a lot of color adjustments/effects to get the overall palette right, etc. A lot of noise stuff to simulate this thing that fine art printers, monoprinters, engraving printers, etc called 'print tone'. Basically reallly simple stuff.
Jeeze, this takes me back to impossible days. I don't know if you went this far back, but there was a time if you had a good hand, the commercial world was your playground. I even once did a stint as a freelance comp artist: Record companies, department store chains, whomever, actually paying you big money to do these cheezy little simple color pencilled and penned comps, basically a tight sketch with the figurative stuff indications with the nice little type indications, etc for the unsung hero final art guys, photographers, graphic artist, typesetters, whomever to work to. In retrospect, that was one of the weirdest things I've done. Weird times - This was the period that Bob Peak got $90,000 (at those wayback dollars!!!) for the Apocalypse Now illustration . Also did freelance fashion illustration for big department store chains (which haven't graced newspapers for a very long time), architectural illustration (they still have a few of those guys), etc, etc. A lot of stuff that isn't done anymore So maybe there is a point to this weird closing - Stuff changes, always does, always will. Change with it or get run over.
I hope a lot of people today can appreciate how great such a common thing such as a decent Bezier is - I remember when Illustrator had the only pen that wasn't a POS. That was so long ago, when Illustrator's Bezier was the clincher for me - Some other editors had a lot more bells and whistles goin on, but their pens were a showstopper.
So, I'm an illustrator, so that's my perspective on stuff. Pretty simple. Pretty basic. A lot of the stuff still happens from the hand, then you juice it, anything to make it better. Michelangelo would have done digital if he had the chance. Aviary cuts it for me.
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