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      It began the process of gathering industry opinion on what was needed in Cinema.

      Gene Simon recalls:

       At the time development started, the CMX 6000 was struggling to compete as a nonlinear system and the linear online product, the CMX 3600 was running out of competitive steam because new features were not easily added.

       Additionally, the separate Z80 I2 architecture was another added cost compared to our competition. Cinema was primarily different from the 6000 because the laser disks were replaced with JPEG compression and 8” hard drives. The drive modules included Truevision compression cards and Matrox decoder cards.

      Editor Michael Rubin became the senior designer while Rick Foster was the key software engineer. The CMX team also began development of the Omni 500 and Aegis.

      Gene Simon became project manager with Richard Bardini as the software lead engineer and Bob Glenn as the hardware lead engineer.

      Because developing an all-new hardware and software architecture was a huge task, CMX split the development into two projects. After years of products built on assembly code and a proprietary real-time operating system, Simon’s team wrote the new code in C, and moved to pSOS on a UNIX platform. Simon concludes:

       For the Omni user interface, Rick ported X-Windows to run under pSOS instead of UNIX, which was quite an accomplishment. It was a big event when we got that big ‘X’ to pop up on the screen.

      Cinema was its nonlinear offering, the Omni 500 was a part offline/online editing system; and the Aegis was an online editing system.

       MACROMEDIA

      In a market filled with small software companies, Macromind and Paracomp decided in March 1992 that they may be more profitable as a larger concern.

      No sooner had they merged, than MacroMind-Paracomp linked up with a third company, Authorware to become Macromedia. While managers told the press that there were ‘no planned payoffs’ the merger of previous rivals created overlapping projects, and products.

      Nick Schlott was part of the Authorware team building a new product, codenamed Skylab when it was cancelled.

       All the people I’d worked with on that project left the company one by one. I was offered work on another project, and hated it; it was just grinding work on this big project. I started to look around for a new job and I rang a former colleague who was now at Adobe.

      Schlott landed a job at Adobe Systems.

       When I started with Adobe at Shoreline, it really was THE place to work as a programmer, and the environment we worked in was fantastic. The Photoshop, Illustrator, and Premiere groups were all in one big set of cubicles with perimeter offices.

       There was much good energy there because you could see what everyone was working on. I guess my job description then, as it is now, was to hit code with a hammer until it works.

       My mantra was a lot like Randy, you have a creative urge to make something and you don't give up until you get there. Randy would work down the hall from me and he "was" Premiere.

       One guy by himself! In some ways he was writing code, and creating things so quickly he didn’t really have time to stop and teach someone or bring them up to speed.

      Schlott’s first task was to create a graphics title package that ran within the Premiere application.

       I wrote most of it in about five weeks time and was really proud of it. For a titler these days it’s very primitive; in those days it was awesome.

      Ubillos focused on what had eluded him in Version One.

       I wanted to get the capture capability built in and get the app to a true 29.97 fps rather than the 30fps that Version One was limited to. Handling ‘real’ NTSC was a big goal.

      Loran Kary had worked with Ubillos at SuperMac.

      He joined the Version 2.0 team to ‘beef it up.'

      Kary was an industry expert on the videotape machine control capabilities, an area that the new entrant was so sorely lacking. He was asked to develop an EDL export function, and frame accurate machine control interfaces for capturing video and audio.

      Kary recalls:

       While I was developing edit decision list (EDL) exporting for Adobe Premiere, there was no way on the Macintosh to copy EDL files directly from or to an RT-11 format floppy disk. As a result, I wrote a Macintosh utility application that could be used to format, read, and write to RT-11 formatted disks.

       With EDL Access, an editor could copy an EDL file to or from a RT-11 formatted disk using a third party floppy disk drive.

       I'm sure if you look in Premiere now, they're probably still using my timecode libraries! But it was great to work with Randy, he is a genius, a star programmer and Adobe were committed to Premiere.

      SuperMac sold more than 18,000 VideoSpigots video boards to owners of Adobe Premiere and reported its strongest financial quarter. tidBits' Jon Pugh trialed the $499 Spigot board that came in a PDS version for the LC or a NuBus version for the Mac II family.

       The board itself is simple to install with only a simple RCA jack on the back which can be connected to your VCR's dubbing output through standard cables. If you are going to do audio input you will need a sound digitizer, such as the MacRecorder or the audio input that comes with most new Macs.

       The VideoSpigot comes with an application called ScreenPlay, which must be used to control the board and capture the video. As of this time, SuperMac is testing their "vdig" QuickTime extension, which will allow any standard QuickTime-compatible application to record video off the VideoSpigot, but that isn't available yet, so we are stuck with ScreenPlay.