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Informal NLE poll
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[Bill Davis] “Part of that IMO is the result of recent elections where a “lets go back to when it was easier” mentality showed up lots of polling places worldwide.
“I don’t follow how recent elections have impact adoption rates over the previous six years.
[Bill Davis] “And when the dams eventually break – the hardware, software, and even the “what IS an NLE anymore” thinking environment may be VERY different than what we see today. Only time will tell. “
Which dams are you still waiting to break? To me, dams all over busted wide open starting with the DV Revolution in the late ’90s/early ’00s. Follow through to today where most people in first world countries can shoot, edit and distribute videos without any extra out of pocket costs merely by using hardware and services that they already use in their day to day lives (smart phones, computers, Internet connections, etc.,). Speaking in generalities, I don’t really see what barriers to entry are left standing. Now whether or not their videos will get views and/or generate meaningful revenue is a complete different question.
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The interesting thing with Resolve is that they are also going after the big guys. I can’t mention names, but some heavyweight film editors are having their assistants put it through the paces in the hope that it might be ready for their next large film editorial project. Paul was at Apple during FCP’s push into large facilities, so he knows what it takes.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “Paul was at Apple during FCP’s push into large facilities, so he knows what it takes.”
Yes BMD are up for it and with people who clearly know what they are doing. It will be interesting in a year to see where the % stand. And you are right that one size doesn’t fit all but BMD will continue to support and develop interchange between systems. Within the Fairlight software team they inherited are some interchange geniuses who coded AVTransfer. Fairlight will turn out to be a bonanza for BMD.
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[Michael Gissing] ” So the idea is that editors, graders and sound post can all work within the one tool and collaboratively. “
The old Final Cut suite and the current Adobe suite have a similar philosophy, yet a less elegant solution (sending to other apps in the suite vs doing everything inside one app). The sticking point, of course, is that you have to have offline editors, online editors, gfx/vfx, and audio all wanting and willing to work in the same program.
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The Resolve collaboration is based on the ability to lock parts of a project so multiple users are working within the one project and changes are flagged to the other users to update. It has the capacity to rival Avid and Adobe with true multi users within single project. The fact that the tasks are organised on pages means that the editor may never need the grade page and the sound post people never have to worry about ugly reconforms for versioning.
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[Michael Gissing] “The Resolve collaboration is based on the ability to lock parts of a project so multiple users are working within the one project and changes are flagged to the other users to update. It has the capacity to rival Avid and Adobe with true multi users within single project. The fact that the tasks are organised on pages means that the editor may never need the grade page and the sound post people never have to worry about ugly reconforms for versioning.”
I’ve only seen videos of Adobe and Resolves collaboration ability, but none of them have made me excited about their implementation. And Adobe needing a conflict resolution feature just throws up a red flag for me. I’d love to get actual time on them and put them through their paces.
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[Andrew Kimery] “I’ve only seen videos of Adobe and Resolves collaboration ability, but none of them have made me excited about their implementation. “
Neither feature works like Avid. AFAIK, with Resolve you can’t have two people editing at the same time in the same project. You could have an editor, colorist, and mixer all working at the same time on one sequence. With Adobe, there’s only collaboration through Team projects. The project has to live in the cloud with multiple access. Multiple editors can make changes in their own temp copy of the project, and then changes have to be reconciled to the master project in the cloud. Sort of a check-out/check-in/reconcile system.
Avid allows different Bins within a project to be open and modified by various editors. So, FCPX could, in theory, adopt a similar approach by having multiple editors work in different Events within the same Library. I’m not sure what the technical hurdles would be, but the concept is simple in design.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
I was told yesterday that Resolve collaboration has bin locking. Not sure how that is implemented and if that allows for multiple editors on the one timeline but I am pretty sure multiple editors in the one project is possible. I’m looking forward to loading 14Beta5 when I finish a feature doco soon.
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To me it just seems impossible to ignore where the trend is going in our biz, and it’s to one person productions.
Production houses all over are closing left and right. The cost to do production has falling through the floor and it’s hard for a large production house to compete with a person working out of their home with almost no overhead.
People keep looking at job posting but that’s old school. It’s one person saying I can write, shoot and cut that thing all for one cheap price. In some cases it looks terrible and in some it looks really good. That’s it.
I know with NETFlix and others there is more high quality production than ever, but none of those shows are being shot in my town.
Another thing I see (and I know I’m not the only one) are people who have worked in the biz for 20 years that never owned a NLE and bought X because it cost 300 bucks. They may be a full time shooters or editor or both. They had iMovie for free on their computers and when they needed it they used it. X came along and offered them more bang for the buck and for that price they couldn’t justify not buying it. I think if X cost 800.00 90% of them wouldn’t own it.
I can’t tell you how many people I know who fit this description.
Production houses that stayed afloat went with Pr mostly, but people who never owned anything went with X
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[Scott Witthaus] “I would say that the two (budget and Premiere) have nothing to do with each other.”
I would have said that, too. That’s why I put three caveats around the statement you quoted! But the correlation in my little sample is so strong, I’m curious if there’s more at play here than coincidence. Is it just chance? Does NLE adoption skew strongly by age? Are some agencies more open to innovation because they’re less averse to risk (the Bill hypothesis)?
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn]
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