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OTish: Adobe Release
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[Jeremy Garchow] “Are you saying that these programs couldn’t have been updated? Not sure what you mean. Perpetual licensing killed these programs? “
I’m saying these are all programs that needed re-architecture and didn’t get it. Why doesn’t re-architecture happen, especially in cases like these where it’s so badly needed?
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[David Lawrence] “I agree it’s a long game btw, I just don’t think it’ll play out the way Adobe management and their Wall Street cronies expect.”
I’ll drop the wherefore for a moment. CC has been really, really good to me, as an artist who actually uses this software everyday. I like this development trajectory a lot better; it’s very user-focused.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Walter Soyka] “Ae’s 21 years old. It could have used a new architecture a decade ago. Why do you think it didn’t get that re-design sooner?”
Because deep software development is impossible under perpetual licensing sales?
Or maybe because management didn’t think it was a priority for 21 years and now users are beginning to notice?
[Walter Soyka] “They’ve chosen a schedule, but isn’t this Ae release (that you would choose to skip because there’s no compelling value for you) the opposite of this “big marketing feature” idea?”
It is. But it’s also incomplete. Normally it would be held until ready and customers wouldn’t be expected to pay for it until they could use it.
Forced rental changes the power relationship between vendor and customer. And not for the customer’s benefit. You pay whether you can use the new version or not, and if you stop paying, you’re left with nothing.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
https://lnkd.in/Cfz92F
facebook.com/dlawrence
twitter.com/dhl
vimeo.com/dlawrence/albums -
[Walter Soyka] “I’ll drop the wherefore for a moment. CC has been really, really good to me, as an artist who actually uses this software everyday. I like this development trajectory a lot better; it’s very user-focused.”
I hear you. I just think there’s nothing stopping Adobe from also making their yearly desktop software versions available to users like myself who won’t rent. Best of both worlds. They’re leaving a lot of money on the table.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
https://lnkd.in/Cfz92F
facebook.com/dlawrence
twitter.com/dhl
vimeo.com/dlawrence/albums -
[Walter Soyka] “I’m saying these are all programs that needed re-architecture and didn’t get it. Why doesn’t re-architecture happen, especially in cases like these where it’s so badly needed?
“Well, duh, they weren’t charging enough money per month!
Honestly, there isn’t one over arching reason expect that the video industry itself, is hard and technology changes very quickly, especially since the advent of HD. There wasn’t a need for million dollar tape rooms and all the software and hardware that goes with it. At some point, someone thought it wasn’t worth it, so instead of violating Rule 1, they killed it.
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[David Lawrence] “Because deep software development is impossible under perpetual licensing sales? Or maybe because management didn’t think it was a priority for 21 years and now users are beginning to notice?”
I can assure you that users have noticed for a long time.
[David Lawrence] “It is. But it’s also incomplete. Normally it would be held until ready and customers wouldn’t be expected to pay for it until they could use it.”
How does that reconcile with the yearly CS releases Adobe’s business was dependent on? There just wouldn’t be an Ae CS9 this year?
[David Lawrence] “Forced rental changes the power relationship between vendor and customer. And not for the customer’s benefit. You pay whether you can use the new version or not, and if you stop paying, you’re left with nothing.”
It’s funny, but we never called it “forced license sales” when that was the only option.
Perpetual license sales are transactional. Subscription-only makes the vendor completely dependent on creating long-term relationships with their customers to realize any significant value.
I know you are philosophically opposed, and I respect your thinking very highly, but I see a lot of practical customer benefit.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[David Lawrence] “I just think there’s nothing stopping Adobe from also making their yearly desktop software versions available to users like myself who won’t rent. Best of both worlds. They’re leaving a lot of money on the table.”
I’d love for them to figure something out for you, David, but I hope it doesn’t hurt what I’ve come to appreciate about the CC model. Sadly, I don’t see how our wishes are compatible.
Walter Soyka
Designer & Mad Scientist at Keen Live [link]
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
@keenlive | RenderBreak [blog] | Profile [LinkedIn] -
[Walter Soyka] “I’d love for them to figure something out for you, David, but I hope it doesn’t hurt what I’ve come to appreciate about the CC model. Sadly, I don’t see how our wishes are compatible.”
It’s not rocket science. The technology is already in place, all they have to do is flip a switch. When Adobe management decides they want to sell perpetual licenses again, they can easily do so. And I promise, it won’t hurt the things you like about CC. Development and sales/licensing are two different things. Adobe is a big enough company that they can give us both what we want, if they want to.
_______________________
David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
https://lnkd.in/Cfz92F
facebook.com/dlawrence
twitter.com/dhl
vimeo.com/dlawrence/albums -
[Tim Wilson] “No, they did from FCP FIVE to FCPX.”
I don’t remember being let down by FCP 6 but the final update to the Final Cut Studio was totally a leftover bag of unwanted halloween candy. And when I saw that Color just went to 1.5 I was pissed (and I knew Color was gonna go down like Shake). I had been using Color on a weekly TV show and I was so looking forward to what new and improved awesomeness Apple was going give us with 2.0. Nope, here’s a bunch of bug fixes we are calling 1.5. I know you were hoping for a Transformer, but here is a Gobot.
That’s for bringing up all these repressed memories, Tim! 😉
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Secondary Color correction is still alive and well in the new Premiere Pro 2015 – just go old school – call up the three way color corrector – secondary’s still there – you can easily recreate Pleasantville by isolating one color and dropping the rest
Andy Field
FieldVision Productions
N. Bethesda, Maryland 20852
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