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Prem vs FCPX – Panels
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[Simon Ubsdell] “OK, so this doesn’t belong here, but I mention it to make a more general point. To anyone who can still remember those days, there was unquestionably something indefinably special about the process of cutting on a flatbed (or a Moviola). Was it the tactile pleasure of the physical interaction with the medium? The intrinsic slowness of the process that made you think harder about what you were doing? The magic of looking at a beautiful projected image rather than just a bunch of dead pixels? The performative aspect of every cut? The sheer physical labour of it that made you feel more like an honest artisan than a pretentious “artist”? The satisfaction of working with a magnificent piece of mechanical engineering costing more than a luxury car? I think ultimately the appeal was that it was a holistic experience, more than the sum of its parts, a holistic experience that made you feel connected, even if only by a slender thread, to a tradition of film-making stretching back to Griffith and Eisenstein.
By which I mean that speed and efficiency and modernity are not necessarily the only values it pays to think about.”
Here you go guys… don’t get TOO excited at the imagery…
Photo attributed to the University of Utah,
Posted by a friend yesterday on a private forum.Enjoy.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Walter Soyka] “[Simon Ubsdell] “Call me crazy, but sometimes FCP X is just perfect for what I need to do. And sometimes it’s Premiere. And sometimes it’s Media Composer. And sometimes it’s Resolve. And so on. I guess I need therapy.”
I know one of your use cases for Resolve [link]. Where, roughly, do you draw the lines for the other apps?”
Walter, you have one of the broadest toolsets of anyone in these parts. Where do YOU draw the rough lines for which apps get used for which tasks?
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[Bill Davis] “Well, what I’m NOT doing is taking away their ability to continue working on THEIR OWN VIDEOS if they don’t renew their subscriptions.”
Exactly. Which is why it’s completely nonsensical to try and compare the two if you want to ignore that “tiny detail” which isn’t one. And as I’ve said before, you don’t remove their ability to use what they’ve learned or watch what they’ve (most likely) downloaded after opting out either. Subscription is not subscription is not subscription.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich! -
[Bill Davis] “Well, what I’m NOT doing is taking away their ability to continue working on THEIR OWN VIDEOS if they don’t renew their subscriptions.”
FCP7/FCPX taught me that switching creative applications is easier than I ever thought. If you want to quit Premiere tomorrow, export XML and download Resolve (or buy FCPX and SendToX) today.
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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[Bill Davis] “Well, what I’m NOT doing is taking away their ability to continue working on THEIR OWN VIDEOS if they don’t renew their subscriptions.
Seems to me as if that’s a pretty HUGE difference in the different subscription models right there. “
You are offering tutorials about about software, Adobe is offering the actual software; It’s a huge difference in what’s being offered, but the models are the same (they are both subscriptions).
Don’t pay the ISP bill? Don’t pay the Adobe bill? Don’t pay the Bill bill (sorry, couldn’t help myself)? End result is the same, access is lost. If one lets their subscription to Sapphire effects from Gen Arts lapse one has to re-up before it’ll work again. If one rents a bounce house, a BetaSP deck, a RED Dragon or an entire turnkey NLE system one has to keep paying otherwise access is lost.
[Walter Soyka] “FCP7/FCPX taught me that switching creative applications is easier than I ever thought. If you want to quit Premiere tomorrow, export XML and download Resolve (or buy FCPX and SendToX) today.”
That’s crazy talk, Walter. Everyone knows that once you start using an NLE you can never, ever, ever switch to another one. 😉
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[Walter Soyka] “FCP7/FCPX taught me that switching creative applications is easier than I ever thought. If you want to quit Premiere tomorrow, export XML and download Resolve (or buy FCPX and SendToX) today.”
That’s why the whole “locked out forever” trope has always seemed like a straw man. Philosophically offensive to you? Fine. Walk away, shake the dust from your sandals, and never look back. But the idea that anyone is locked into anything is nonsense.
The flip side of all of this, which we tacitly acknowledge, except too rarely in THIS context, is that it’s incredibly easy to walk away at any time, but Adobe has to keep you for four years and four months just to break even with what they’d have gotten from the old business model. It’s a risk that hasn’t always paid off by any means. They’re ENCOURAGING you to walk away by making it so easy.
For that matter, Apple used to be to ME the epitome of locking people in, because as a die-hard Apple-ite going back LONG before Macs it seemed inconceivable to me that any meaningful number of people would ever leave Mac for Windows. But in fact, FCPX was the first to kick open the door to not just switching NLEs, but switching platforms.
Thinking about this just now, I’m remembering how much I hated the Mac at first, because it seemed a deviation from EVERYTHING that originally made Apple great. I refused to get on the bandwagon for such an essentially anti-customer product, until eventually of course I did. But it’s not lost on me the irony that the Mac was the first major stumbling block in my love affair with Apple. Even more than FCPX, the trashcan was the straw that broke so many’s people Mac-loving backs, and I suspect that not one of those people will ever be back. After building my business a large swath of my career not just on Macs but on very specifically Mac ADVOCACY, I certainly can’t imagine anything that Apple could do to win me back.
Nobody’s locked into nuthin’.
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[Tim Wilson] “That’s why the whole “locked out forever” trope has always seemed like a straw man. “
Add to that the ‘they’ll never update it’ trope. And the ‘they’ll keep raising prices’ trope. Some people have even done enough mental gymnastics to somehow paint things like Adobe Stock in a negative light, ‘See, I *told* you Adobe would find a way to raise prices’ even though rolling out an optional service like that, which anyone can use, means Adobe can increase revenue w/o having to raise CC prices.
What allows companies to get too big for their britches isn’t a subscription, it’s lack of competition (or perceived lack of competition). Case in point is Avid 10-15yrs ago. No subscription there, but they thought they could kick back and not react to customer demands. In the NLE arena, as long as MC, FCP, Resolve, etc., are around then Adobe has to stay on point or people will say ‘later alligator’ and switch. People did it in droves before and they had a lot more money tied up in Avid than anyone will ever have in CC. Not to mention the hardware hurdles that existed back then compared to today where switching NLEs is as easy as closing one app and opening the other.
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To build upon Walter’s and Tim’s comments… Let’s say you find the need to move out of Adobe at any given time. Then six months later you need to make a client revision on a Premiere Pro project. All you have to do is activate a 1-month subscription and make the change. Or export XMLs of your vital sequences and move to a different NLE. It’s far harder to get back into an FCP7 project file if you wiped FC Studio from your computers or moved to a PC.
And Macs seem to many to be synonymous with NLEs, but that’s ONLY because of the original popularity of Avid and Media 100 systems. Had EMC2 become the dominant player, we’d all be singing a different tune. Maybe this would then be the “EMC2K Debate” forum.
☺Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Tim Wilson] “That’s why the whole “locked out forever” trope has always seemed like a straw man.”
Yep!
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