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Old dogs new tricks
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[Andrew Kimery] “over 40 3D films have been released in the US so far this year so it makes since for Avid to cater to their niche.”
Had no idea it was so many – that’s still a heck of a lot of movies and all of them virtually by definition very big budget. Makes total sense to be servicing the needs of that market.
Simon Ubsdell
tokyo-uk.com -
[Simon Ubsdell] “Had no idea it was so many – that’s still a heck of a lot of movies and all of them virtually by definition very big budget. Makes total sense to be servicing the needs of that market.”
I didn’t either, but I prefer to see the 2D versions of movies (wearing 3D glasses over my normal glasses kinda sucks). It seems like almost any decent sized (by Hollywood standards) action or animated movie gets a 3D version released too.
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[Simon Ubsdell] “A monthly subscription to Media Composer currently runs at $49 per month. “
Right. Never mind that I said “for years” and not “just weeks”. And that the Avid subscription is… how old? 😀 At the time you couldn’t even get as much as an incremental update for Avid for that much, so it’s rather a matter of perspective. Not sure how today’s cost is in any way relevant to what I said.
But even if it had existed, I would have paid much more by the time of the second project either way. AND had an NLE that I’m not interested in working with otherwise on top of it. Don’t see much of an advantage in that.
[Andrew Kimery] “If you are working on a Hollywood movie”
I’m not at the moment. Nor do I see that part of the industry as any sort of measure of my needs or that of more than 95+% of the entire market. Add those that actually need 3D and you’re even easily in the area of what? 99+%? And the Dashwood plugin paid for itself on the first project, so I don’t care either way. 🙂
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Andrew Kimery] “It seems like almost any decent sized (by Hollywood standards) action or animated movie gets a 3D version released too.”
I believe the Chinese market is also much bigger for Stereo3D, so there are films that go 3D even though they are distributed in the US in 2D. Of course, those are usually a post process. However, the Chinese theme park business is strong and that’s another area for Stereo3D, outside of the typical “Hollywood” niche.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Robin S. Kurz] “Right. Never mind that I said “for years” and not “just weeks”. And that the Avid subscription is… how old? 😀 At the time you couldn’t even get as much as an incremental update for Avid for that much, so it’s rather a matter of perspective. Not sure how today’s cost is in any way relevant to what I said.
But even if it had existed, I would have paid much more by the time of the second project either way. AND had an NLE that I’m not interested in working with otherwise on top of it. Don’t see much of an advantage in that.”
I’m not entirely sure when the price became operative but quite a few years back now you were able to buy MC outright for $995 which is only marginally more expensive than the Dashwood plug-in – and you’d walk away with an industry standard NLE for your money in addition to being able to access the best stereoscopic workflow available. A decent enough deal, I’d have said.
Simon Ubsdell
tokyo-uk.com -
[Robin S. Kurz] “Right. Never mind that I said “for years” and not “just weeks”. And that the Avid subscription is… how old? 😀 At the time you couldn’t even get as much as an incremental update for Avid for that much, so it’s rather a matter of perspective. Not sure how today’s cost is in any way relevant to what I said.”
You said years ago and you used FCPX? So, in the last 3 years?
Dashwood – $799
FCPX – $299
TOTAL: $1,098Avid: $999
TOTAL: $999—————-
Michael Hancock
Editor -
[Simon Ubsdell] “you were able to buy MC outright for $995”
Exactly. Additional money I neither needed to spend nor saw any point in spending. And I already had an “industry standard NLE”, too, btw. One that I actually used. If buying an entirely new (foreign) software package that you’d need twice the time to get into for (at the time) one single project makes sense to you, great. Go for it. It sure didn’t to me, not by a long-shot. I guess I’m just weird that way!
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Robin S. Kurz] “Exactly. Additional money I neither needed to spend nor saw any point in spending. And I already had an “industry standard NLE”, too, btw. One that I actually used. If buying an entirely new (foreign) software package that you’d need twice the time to get into for (at the time) one single project makes sense to you, great. Go for it. It sure didn’t to me, not by a long-shot. I guess I’m just weird that way!”
I guess what you’re saying here is that you haven’t ever actually used Media Composer, is that right?
Simon Ubsdell
tokyo-uk.com -
[Shawn Miller] “The US is definitely not falling behind in high-end commercial/VFX work. “
And, of course the complete antithesis of that spot 😉
https://www.youtube.com/watch?feature=player_embedded&v=Oq3pDuJeMqQ
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Robin S. Kurz] “I’m not at the moment. Nor do I see that part of the industry as any sort of measure of my needs or that of more than 95+% of the entire market.”
Right, but the discussion wasn’t about the general needs of an industry that spans everything from $500 wedding videos to $300 million dollar films. The discussion was about Avid and the b’cast and film niche it primarily serves.
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