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October 16
I've talked with a few other graphic designers, and several don't seem all that compassionate about the Mac. Apple has said more than once that without Macintoshes, the design and publishing industry would be in trouble. Perhaps this is true - particularly for the non-technical artists - but every Photoshop head I know, once placed in front of an SGI with some nice 3D Alias stuff going on at the same time he's working with a dozen or so massive photoshop images usually becomes a drooling idiot that can't even remember how to spell Macintosh. The problem is that there's not that many SGI equiped departments, but several that I've worked in gives the Apple's to the newbies and guards their Indy workstations like a Rottweiler with a T-Bone. As I've passed through many pre-press production houses, the real-pig iron never had an Apple logo on it. Scitex, Dolev, SGI, Sun, and Digital were the order of the day - not because they somehow sold out the Apple dream, but because they had to get the postscript out - massive quantities - and fast. For a time Scitex and Quark worked together closely to bridge all the XPress material that had to be shoved into the mainframe and workstation towers that controlled robotic Hell scanners, and massive imaging devices. They licensed this crowbar under the name of Visionary. Due to some technical and political quagmire, with lots of finger pointing on both sides, Visionary became a blurry backdrop to an extension to XPress running on Macs in a gateway configuration. It, worked - but was much less elegant and scads less efficient than the predecessor - if for no other reason that a lot of the time was now taken by Apple boxes trying to act like the pig-iron that got the job done. Fine if you're billing per-hour on a job, not so great if they're contracts for 25% of Ralston Purina's worldwide output that are all flat-rated. The point is, that although Apple will always portend to have the most designers under their belts, and will maintain that their advantages are second to none - most high-end graphics shops don't give a damn. They're the ones using NT and Sun workstations to get the most bang for the buck - rather than be a part of Apple's PR machine. Those designers that refuse to up their technical skills in the short-term may find themselves as useful as those that used to man Agfa Quadex computers from the 70's and other machines that were once the state-of-the-graphic-arts. Those that are already technical, know that they can adapt as long as the software is there - and will do so gladly if there's more speed involved. The real speed may be matched only by how fast departments junk their aging mac fleets for faster workstations without the Apple logo on them as Apple continues to flag both in technology and in stability. Then it won't be a question of, do you like this computer, but do you want to work here?
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