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You're restating the grandparents point: The only people doing real heavyweight real-time audio are music producers. Once Jacob Collier is done rendering his so
by morsch 6y ago
You're restating the grandparents point: The only people doing real heavyweight real-time audio are music producers. Once Jacob Collier is done rendering his song, it's distributed as a YouTube video with single stereo audio track.
And, talking about learning lessons from other fields, there's no particular reason that Jacob has to to render his audio at full fidelity in real time. Video editors usually do their interactive work with a relatively low fi representation, and do the high fidelity rendering in a batch process that can take hours or days. As I'm sure you're aware.
- PaulDavisThe1st 6y agoI don't know much about video editors. Film sound editors in movie post-production do not work the way you describe.
- munificent 6y ago> Film sound editors in movie post-production do not work the way you describe. They don't generally lower fidelity. That is needed for video simply because the data sizes for video footage are so huge they are to work with. But DAWs do let users "freeze", "consolidate" or otherwise pre-render effects so that everything does not need to be calculated in real-time on the fly.
- PaulDavisThe1st 6y agoI'm the original author of a DAW, so I'm more than familiar with what they do :) Film sound editors do not do what you're describing. They work with typically 600-1000 tracks of audio. They do not lower fidelity, they do not pre-render. Ten years ago, one of the biggest post-production studios in Hollywood used TEN ProTools system to be able to function during this stage of the move production process.
- munificent 6y agoSure, but that's an extreme use case. Typical DAW users are using a pro-sumer machine and bouncing tracks as necessary to fit within their CPU limits.