#SONY VEGAS 12 RED GIANT UNIVERSE UNDETECTED FULL VERSION#It’s one of the effects included in the full version of Universe when it launched. I use them in just about every piece I work on, and I’ve always thought that the Knoll package was one of the best ones out there. Yep, that’s right, one effect got me hooked. What was it, you ask? Knoll Light Factory EZ. I know that “more were coming”, but to be honest, I thought that was really just industry speak for “you’ll be getting more when we get around to it”. #SONY VEGAS 12 RED GIANT UNIVERSE UNDETECTED FREE#I was surprised that Red Giant was expecting me (well, the user base) to pay $10 per month ($99 per year, or even $400 for a lifetime license) for thirty-one Free Tools (twenty two effects and Nine Transitions) and nineteen Premium Tools (twelve effects and seven transitions). Adobe has it, Avid has it and now plug-in companies have it. Fifty effects, of which thirty one of them were free, made it nineteen that were going to be taking my (and your) $10 per month, and to be honest, we have been inundated in the last year with subscriptions. If that’s the case, then why did I say in the intro that if I had written the review at NAB, that it wouldn’t be pretty? To be honest, I wasn’t thrilled with Universe at all at it’s release. How will the Red Giant userbase respond to Universe, and more importantly, how will the non-Red Giant users, the people that Red Giant is trying to convince to take a chance on this new, unproven IP, react to it? If NAB was the litmus test, Universe was going to be huge, and the NAB hype proved it. The “Suites” (Color, Keying, Trapcode, Effects and Shooter) are it’s core business. Red Giant as a proven track record on its CURRENT product line. #SONY VEGAS 12 RED GIANT UNIVERSE UNDETECTED UPGRADE#$1700 for a new license is asking a lot of its customer base (granted, this is the cost for a new license, and upgrade is significantly cheaper), but eight versions gives them the ability to do this. Sapphire is a proven product that is not cheap. For a company like Genarts to go this route makes sense. Universe was something entirely new, and in my opinion, a big risk, especially to go down the road of a subscription based pricing structure for an unproven product. Most people immediately thought of “Universe” to mean their entire product line, and that was not the case. Red Giant Universe was a big risk for the company. Their booth was packed every day I was at the show, and the only reason I didn’t sit down with them at the time, was that my voice was completely shot, and an audio interview with Aharon Rabinowitz, wouldn’t have sounded great, as I sounded like Super Dave Osborne. Universe was what they had on their minds, and they wanted it on your mind as well. Red Giant, on the other hand, was taking things in a new direction. At NAB 2014, both Boris FX and Genarts had brought their tried and true effects packages, Boris Continuum Complete and Sapphire respectively, to NAB to show off the newest version of each. Don’t get me wrong, there are others out there, but those three really are the big ones. For me, the big three are Boris FX, Genarts, and Red Giant. There are a few big players out there in the Effects business. To be honest with you, the review I’m writing today is very different from the one I would have written then. NAB 2014 has been over for about seven months now, and most people might be wondering why I am writing a review of Red Giant Universe now, as opposed to when it was first announced/released around the time of NAB.
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