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please explain the new business model to me
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[Don Walker] “Steve,
I visit this forum almost every day, (yet seldom post), and I’ve always had you pegged as being firmly in the FCPX camp; has that changed? If so, why? I ask because I am always tempted to move to Premiere, but stay with X because I find it a more enjoyable edit experience, and I find Motion far more intuitive than AE.
don walker”
Hi Don, I am still firmly in the FCPX camp as, like you, I enjoy editing in it. I also prefer Motion but the lack of “send to Motion” has meant it doesn’t matter what NLE I use. At the moment I’m about 50/50 on PPro and FCPX.
The main Production Company I do work for uses PPro, so I have to use it when the Projects are likely to be finished in-house, but there are other reasons I use it too:
I mostly work on an older 2008 Mac Pro with ATi 7950 Radeon card and SSD boot drive, FCPX works very well on this system apart from very slight delays in timeline operation, especially when there is waveform redrawing. Since the latest updates I don’t get any beachballing but the slight delay persists, especially on longer projects. When I edit in PPro there are no delays at all, the timeline is buttery smooth. I know FCPX wants the latest hardware but even on my 2013MBP the timeline in PPro is smoother. I’m hoping this changes when I finally get a new Mac Pro
I don’t have fear of tracks that some have, I do prefer the magnetic timeline, but going back to tracks is no big deal, especially when you can “pancake” timelines.
Customizeable workspaces in PPro are very useful, for some projects having more than one bin open at a time is an advantage and I love the fact that you can simply press the Tilde key and get a full screen timeline.
“Send to Audition” is very useful as is the excellent “warp stabilize”
I’m not a particularly organised Editor, so FCPX’s organisational capabilities aren’t such a big thing for me, although skimming in FCPX is!
I like the CC options in PPro, especially the new Lumetri Panel.
I also like to have more tools in my toolbox and I think the relatively small monthly rental cost is worth it, although If I had to choose one to use it would still be FCPX.
However if that rental cost starts to rise I will be quite happy to unsubscribe at any time.
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[Steve Connor] ”
Bet you never imagined that Aindreas would be an advocate!Just like to add my praise too, it’s development pace has been stunning and I really enjoy using it now.”
Well, thank you Steve as well. We’re not perfect, but I think Adobe is clear about that and our communication with customers as users is key to our advancement and your satisfaction.
As for Aindreas or others becoming advocates, I think anyone that looks at the situation with an open mind can see the value. That there are some folks that refuse to embrace/adapt/grow/evolve (choose your adjective) to changes in the market is certainly their prerogative.
Dennis – Adobe guy
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I know, but if I can’t find two days billing in a calendar year to put aside for the entire CC suite and behance and the iOS stuff – I’ve got more serious problems as a freelancer than the subscription.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[John Rofrano] “As soon as you fall on hard times, you loose your ability to get work because you can’t afford to rent the tools to get the work you need.”
Because given the choice between a creative toolset and your cable subscription, well, of course, you absolutely need cable.
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[Aindreas Gallagher] “I’ve got more serious problems as a freelancer than the subscription.”
Ditto.
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[Gary Huff] “Because given the choice between a creative toolset and your cable subscription, well, of course, you absolutely need cable.”
It’s interesting that you bring up cable because customers are telling cable companies that they want more choice and less bundles and Adobe is doing *exactly* the opposite by making you pay a subscription for lots of tools that you don’t need or want! Indeed this is exactly why people ARE canceling their cable subscriptions.
No, I’m thinking ahead of the slippery slope that supporting a subscription model brings. What happens when it’s not just Adobe? What happens when every piece of software on your computer is only available by subscription and they all want $49 a month or some amount of money so you are now paying hundreds, even thousands of dollars a month to keep all of your tools running. This Pandora’s box could be far more than a cable bill in the end. I will not encourage this behavior so I vote with my wallet. No subscription software that doesn’t include a buy-out clause for me.
BTW, I do support maintenance contracts and I have maintenance contracts for software that I use. The difference is, if I choose to not renew the contract, the software doesn’t stop working. That is what I cannot agree to. If I don’t feel a new version has anything that benefits me, why should I be force to buy it? The choice should be mine to do what’s right for my business… not Adobe’s business.
~jr
http://www.johnrofrano.com
http://www.vasst.com -
[Gary Huff] “Because given the choice between a creative toolset and your cable subscription, well, of course, you absolutely need cable.”
Without commenting on John’s post, you jest (I think), but I found this to be the case when I was enticing people to subscribe to cable in the early 80s. I still had to explain to people what it was (no sir, nothing to buy — you just pay monthly, and when you’re ready to stop paying, we just come get the box).
Frankly, back then, there wasn’t much else to explain. No ESPN yet (it had been founded, but not widely available — the only real sports channel was WTBS!!! And nobody in Texas gave a shit about the Braves or Falcons, I assure you), no Disney Channel (my boss left to be their first salesguy), no CNN, no Weather Channel (our local office pointed a camera at an old school radar screen), and obviously nothing that came along after 1982.
So one day, I was following a lead from somebody who called in wanting to know more. I rolled down a dirt road, pulled up to a house with a bowed roof, no front door, a car up on blocks, in a neighborhood tightly packed with similar houses and, classist bastard that I was, I thought, no way, this can’t be right.
There was an old man on the porch with eyes completely clouded over by glaucoma, and he called out, “Who’s there?” When I told him, he was practically giddy.
I didn’t ask the obvious question (WHAT TH—-???), but he said even before I could ask: “For less than the cost of a single trip to McDonald’s for me, my wife, and four kids, I get a whole month’s worth of TV, and keep the kids in the house and out of trouble. Maybe even some other people’s kids too. The whole neighborhood gets safer and more pleasant because *I* have cable. Of course what’s most important to me is MY kids. I can just keep my kids under the roof a little longer –”
–and he leans forward —
“– where I can keep AN EYE ON THEM” as he points to his cloudy eyes and laughs. And he signed up for everything we had.
I bring up this long story to underscore Aindreas’s point that, if it’s awesome, you pay for it, and the price you pay for CS is (thanks to inflation) still less than a couple of fast food meals.
And when you stop paying for it, it goes away, nbd.
I do get why somebody would rather not go that route, but I really don’t think this is quite the sea change that most people are making it out to be, especially in the world of Avid where leased equipment is still common. Stop paying, and it goes away. Maybe this year’s projects can be opened later, maybe not. But you keep paying because it’s not much money (four years and three months of leasing to equal one purchase with no upgrades), and you assume you’ll be in business in four years.
Your mileage, your number of kids, the frequency of your fast food, and the degree of your glaucoma may vary.
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[Dennis Radeke] “I think anyone that looks at the situation with an open mind can see the value. That there are some folks that refuse to embrace/adapt/grow/evolve (choose your adjective) to changes in the market is certainly their prerogativ”
Now Dennis, I am surprised you would say that those of us who don’t like Premiere or the “Adobe Way” have closed minds and refuse to “embrace/adapt/grow/evolve (choose your adjective)”. Sounds like you are calling us ‘dinosaurs’! 🙂 Many of use Premiere only when forced to. Many of us like to own our kit. Many of feel X is a superior product.
My question to the “enlightened ones” is what happens when Adobe raises the monthly rental fee? It’s gonna happen, right? Sooner or later the way to raise revenue is charge higher prices. Everyone cool with $69 ($800+ per year) or $79 ($900+ per year) per month? $35/month for a single app? Seems extreme but once they have you, they have you. And if you’re not cool with that, you lose what you paid for and your projects are gone? At least in Avid-land you own the last version you paid for.
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Well stated Tim…
Oh, and lets not forget, along with a subscription Adobe gives us all the free audio tracks we could ever desire.
David Roth Weiss
Director/Editor/Colorist & Workflow Consultant
David Weiss Productions
Los AngelesDavid is a Creative COW contributing editor and a forum host of the Apple Final Cut Pro forum.
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[Scott Witthaus] “My question to the “enlightened ones” is what happens when Adobe raises the monthly rental fee? It’s gonna happen, right? Sooner or later the way to raise revenue is charge higher prices.”
Everyone keeps saying that, like it’s inevitable. Yet over the years I’ve paid for Vimeo or my website host, the rates have either stayed the same or gone down. If you bought perpetual, in the case of most software, the sales price and/or upgrade costs were pretty level if not lowered over successive years. So historically there’s not much basis for saying prices will increase. Maybe yes, maybe no.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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