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lively discussion at John Nack’s blog.
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[Oliver Peters] “Had it been EOL’ed under CC, would you still be able to use it a year later, even if you are on an active subscription?”
The 10 Most Common Myths About Adobe’s Creative Cloud
https://prodesigntools.com/adobe-creative-cloud-myths.html“In the event that Adobe decides to discontinue any products in the Creative Cloud, then they will make the most recent full and permanent version of the software available free of charge to active members on an as-is basis.”
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Herb Sevush] “”In the event that Adobe decides to discontinue any products in the Creative Cloud, then they will make the most recent full and permanent version of the software available free of charge to active members on an as-is basis.””
Good to know. Thanks.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Walter Soyka] “Aindreas, you came up on Flint, right? Did you own it?”
of course I did – the second hand indigo 2 extreme came in at 125,000 euro, and roughly around the same for the software.
then I believe it was low five figures all in per year after that. the accom cost me a pretty penny too mind you.Steal at the price!
I still really miss the flint particle generator though. that thing was just gorgeous – run a keyframed colour ramp through the source particle colour parameters , throw the generator around a bit and play that sucker back in realtime. deeeelicious.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Herb Sevush] “or I can move on and loose access to all past projects – a concept which, if one can recall, is one of the reasons everyone went haywire with Apple during the X release.”
A – nobody I know has “lost access to all past projects.” after the X release. Legacy still works and, since you OWNED the software, your legacy projects will be available for the forseeable future.
B – not “everyone went haywire” after the X releases. A subset of a subset of editors at the high end of the heap who had deep dependencies and connections with Legacy (and who, yes, were very much displaced by the change) “went haywire” – many of the rest of us simply did not.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Herb Sevush] “[Walter Soyka] “I’d suggest that outputting master deliverables and XML together is a new best practice.”
Agreed, no matter what the software.”
Provided your deliverable is a “fixed state” project, sure.
But the promise of the current world, is that not all projects will be that.
I’m betting that in the future, there will be fewer “fixed state” (meaning detached from their parent program) masters, and more “current state on-line” masters –
After all, the world is connected and I bet more people are now accessing more content via “on-demand” streams (YouTube, Vimeo, Hulu, et al) than accessing content that’s “fixed state.”
If you still work in a “fixed state” world, great.
If you don’t. Then having new tools to accommodate the new reality is pretty great.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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[Bill Davis] “A – nobody I know has “lost access to all past projects.” after the X release. Legacy still works and, since you OWNED the software, your legacy projects will be available for the forseeable future.”
I agree Bill, I never really claimed it did, I was talking about the fear of loosing access to projects, something which X’s inability to import Legacy projects brought up 2 years ago. But you are right that Apple, for all the clumsiness of it’s release, never posed the possibility that Adobe is now bringing up, namely loosing total access to old project files.
[Bill Davis] “B – not “everyone went haywire” after the X releases.”
It was merely an expression, but yes I stand corrected, not everyone went haywire.
Herb Sevush
Zebra Productions
—————————
nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Bill Davis] “Provided your deliverable is a “fixed state” project, sure….
….I’m betting that in the future, there will be fewer “fixed state” (meaning detached from their parent program) masters, and more “current state on-line” masters –
After all, the world is connected and I bet more people are now accessing more content via “on-demand” streams (YouTube, Vimeo, Hulu, et al) than accessing content that’s “fixed state.””Please explain, because I have no idea what you are talking about. If you deliver a finished piece to Hulu or Vimeo for example, in concept it’s no different than delivering to NBC or HBO. Though it may be tapeless and the QC less stringent (maybe). There’s a master file that’s a “locked picture” with a grade and a mix. How is that any different with X than with PPro or FCP “legacy”?
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Walter Soyka] “I’d suggest that outputting master deliverables and XML together is a new best practice.”
there is a thing with this tho.
I realise that my pliers analogy has taken a battering – I can see how that might be – so lets just keep it with tools and the product of that tool.
If I’m up to my eyeballs in PPro in 24 months time, my timelines are likely to have warp stabilisation, dynamic links, lumetri looks, adjustment layers, you name it really, not to mention push pulls done with the pretty peerless keyframing system, where the acceleration curves are best of breed.
I mean, yes, the XML will get a form of the timeline out, but it will miss a fair bit of my intent, and working practise. So it goes or whatever – but there is no way that the tool and the product, the outright personal creative property originating from that tool are not quite deeply enmeshed?
Same goes for a guy in dreamweaver, same goes for a guy in indesign, same goes for a guy in flash. I’m not even sure the guys in dreamweaver or flash get to have even an XML equivalent really. plus where is the dreamweaver guy going to take it? Or the flash guy? i’m not really up on those software markets.
Basically XML as it stands doesn’t answer the issue of the personal works being enmeshed in the authoring tool to the point of being indivisible.
If you don’t own the authoring tool, in a way, you don’t own the product of that tool. That, to me, is the issue here.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Herb Sevush] “I was talking about the fear of loosing access to projects, something which X’s inability to import Legacy projects brought up 2 years ago.”
Fair.
Phil & Greg’s 7toX and Xto7 took a bit of the sting out of that, but the truth is, Legacy can’t do what X does any more than X can do all of what Legacy did.
They are two totally different platforms with totally different workflows.
Be interesting to see how many folks have tried to use both – and ended up, like me, tilting to one or the other. (I’d actually wager that the split is near 50/50 – because lots of editors don’t have the time nor patience to radically re-tool their thinking about the central tools of their livelyhood.
Fun to speculate.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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https://magazine.creativecow.net/article/the-truth-about-2k-4k-the-future-of-pixels
RENTALS, CUSTOMERS & THE DEMOCRATIZATION OF FILMMAKING
Creative COW: When people talk about an Arri D20 or a RED or whatever, one of the very first things to come up is the price of it. But thats really not a direct a factor when we talk about rentals.
John Galt: One of the interesting things about Panavision’s headquarters is that we have research and development here, we have the factory for manufacturing lenses and cameras right here, and we have the rental floor. This puts us directly in contact with customers. We know what they want, because they tell us. “No, I don’t want higher resolution; I’d just have to sit closer to the screen. But yeah I’d like to have more shadow detail, I’d like to have more highlight detail. Can you do that?”
Another wonderful thing about the rental business is that the whole product development process is kind of turned upside down. When you sell something, service is a profit center. When you make something available for rent, service is a COST. Because we rent things instead of selling them, our best way to keep costs down is to build to higher standards.
Lenses are a great example. A zoom lens is built nominally, put together as per the spec. What they do next over in R&D is start making micro adjustments. They have a little eccentric cam that lets them measure deviations in the angle of rotation from where the cam is supposed to be. There are often over four hundred measurements made, going for the peak performance of that zoom lens at any particular focal distance.
That lens is then taken apart, the cam goes back into the factory, and they re-cut the cams based on the test results. Sometimes we’ll do that 3 or 4 times. Why? Because in doing that, we can improve the performance of the lens by 30% or more. Is it expensive? Yeah, it’s ridiculously expensive. But it’s not expensive over the life of the lens.
And it’s not expensive when you know that that that lens will not be sitting on the shelf because a particular cinematographer doesn’t like it. We have a whole floor set up at Panavision where customers test equipment every day. They will reject a particular lens not because its pictures aren’t good, but because it doesn’t FEEL right. That’s why it’s very very hard to build things for the rental market. There may be BUILDER remorse, but there is no buyer remorse. If they’re not happy with something, back it goes onto OUR shelf, not theirs.
We can also develop new products in ways that aren’t practical in a retail environment. So you know, the design camera for the Genesis camera was to be able to match the performance of our Millennium XL 35mm film camera, in all aspects: frame rate, size, weight, all of that. And we didn’t get there. It was maybe 12 pounds, 13 pounds more than a XL with a 400 foot film magazine — more than enough to matter to the poor bugger who has to carry it on a Steadicam all day. With a 400 foot film magazine, you’re getting less than 5 minutes of recording time. That’s fine for Steadicam, but we also wanted to record longer than that.
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