Storm made no sense to me as it was just another learning curve to do mostly what Cine-X did.
Had Storm taken other forms of footage and the ability to analyze a scene and give a basic match to something like a RED and a 5d2 then it would make sense, but it didn't, so I see the reason they killed it.
I'm not going to give Mr. Jannard any business tips because he owns his own island, his own camera company and I don't, though I don't necessarily agree with all his decisions.
I know in my business I've found the more solutions I can offer a client, in the most effecient way, the more it is appreciated.
Then again I don't spend much time (if any) on the RED forums because it's a lot of fanboy and rah rah and a lot of the good information gets buried so finding it takes time.
There are other software suites that will essentially work all formats, we've even added Di-Vinici, but it's another learning curve and another expense and with this added move to motion another learning curve and another expense really isn't something to look forward to.
I much rather put our resources to new content rather than learning why there are primary and secondary color corrections.
I'm not an equipment junkie, I'm brand agnostic, but I am intent on using what works best for what we're producing. I only use the RED's because I think they make the prettiest footage. Period. I use the Canons and Sony's because they do some things the RED's just can't do, like fast setup, semi to full autofocus and ease of mounting and transport.
Given that, it just shouldn't be that complicated to color and do some basic effects on footage.
I think we're in the early stages of digital cinema/motion/video/interactive/mobile/whatever comes next and like the transition in stills from film to digital it takes a while for workflow's to become standard and it all depends on the project, the budget, (I guess it's always the budget.)
RED is in the old film workflow (the digital equivalent) of One light dailies, then three light for intermediate, then editing, then color grading, effecting, more editing and output, with all of those functions coming in separate steps and workstations.
Maybe that's where I see the potential of FCP X. When I use it, I get the idea that as apps are added, it can be a one stop software suite when everything is done in place.
The only thing that concerns me about FCP X is how quickly the professional market adopts it. If like most editors I know just diss it without diving deep and learning what it is . . . what it will be, I'm afraid apple will lose interest in developing it further.
On the other hand, if apple and third party developers quickly go all out to build affordable plug ins, or apps, then the thought of 7, or even three software suites to get to final may be a thing of the past.