which ultimately promised to present a total post-production studio in a shrinkwrap box or. I recall that for years there was this Unicorn-fable around Apple, that they were working on a kind of super-platinum-everything Final Cut 8. I'm assuming no Media Composer presence because you are looking for a $200-or-less option. Perhaps too much typing to get to why there even is a DaVinci / Premiere / FCPX buffet. So we have this XML/AAF exchange for getting in and out of second and third-party software and hoping the reverse translation (roundtrip workflow) doesn't corrupt the agreed-upon final export of the project. We don't have a kind of SMPTE body that defines a format like D-1 digital, for example or BetacamSP, that defines an interchange protocol and leaves it up to a manufacturer to conform to, or you just aren't in the game. So manufacturers have their differences, preferences, and agendas, some of which have to do with profitability, some not. Also, because there are so many vendors, with sometimes proprietary processes to cope with, its a matter of interpretation and synthesis to get one narrative to work with a foreign or alien format or approach that has been introduced to the market. Everything, though, hangs on the editorial timeline, which of course is in constant flux. Starting about 15 years ago, NLE really took over in every area and integration of task became vital. Resolve in its current form is the evolved state of what began as a dedicated colorgrade platform which launched in the mid-'80s as the daVinci Renaissance.
There are no perfect solutions, only ones that are more subtly wrong.
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