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Premiere Pro CC it is then?
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[James Taylor] “And suddenly FCPX is starting to look good again. Wow, didn’t take very long to go full circle.
“Not any better than it looked yesterday or the day before.
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I just think that is hilarious.
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ewww. jesus thats a little grim john. If I’m being honest I didn’t hear about it until hours after the event. Sunny bank holiday mondays don’t roll around that often.. The main thing thats annoying me is that the amount of FUD around it – and seriously, check any forum, and any comments thread on any story – are going to get in the way of premiere being the anointed son. All they had to do was sustain perpetual licenses for maybe 24 more months and they would have been gold. Its just annoying this outcome more than anything.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Bret Williams] “Well, they didn’t raise it this year. Why raise it next year? I’ve been paying $29/mo for a year now and am perfectly happy to pay $49/mo this coming year.”
Well, right now they want everyone singing the AdoGreed praises. Imagine if they doubled the price on existing customers at this point when they are trying to convince the rest of the world this is going to be great for them? Yes, the master collection is higher priced than production premium. However, I currently only need production premium. So why should I now have to pay double (after the introductory period, of course) for programs that will sit unused? And second, what’s to stop them from deciding the price should be $100 per month? Or more? Why, in a month, that’s a very little purchase! Heck, it’s less than a tank of gas for a Suburban.
Up til now, you have had options. You could upgrade or you can choose to stay with your current version. You own that version, and maybe the upgrade isn’t worth it, or times are a little tight. Heck, I’m still using a very functional 2008 Mac Pro desktop. I know lot’s of others who are on previous version of different software and platforms because it works for them. The absolute reality is after you stop paying, you stop being able to access your work. And that’s not how it should ever be.Tim
Apple XRAID, XServe, 2008 2×3 GHz Quad-Core MacPro, Macbook Pro, XSAN, FCP Studio (7), AVID Media Composer, Adobe Production Premium, Maxon Cinema 4d, AJA Kona 3, Flanders Scientific Monitors, Panasonic HPX250’s, Kessler Crane, Glidecam…..
Beer fridge fully loaded. -
[Tim Vaughan] “And second, what’s to stop them from deciding the price should be $100 per month? Or more? Why, in a month, that’s a very little purchase! Heck, it’s less than a tank of gas for a Suburban.”
If they jack up the price beyond the point people perceive it as a value customers will leave. Just like if Adobe doesn’t keep the apps up to snuff customers will leave. They still have competition and that competition will keep them honest. Lack of competition leads to complacency (ex. Avid during the early/mid 2000’s).
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Agreed…However… If you currently leave a company now, –say Avid, you still can open an Avid project file from years ago utilizing the software you purchased at that time. In a year or two after the introductory prices are no longer offered and Adobe’s got you completely, imagine the hassle and discomfort of trying to open a photoshop file or Ae file. Just sayin… You don’t own it, you can’t access it. Your gonna have to keep paying to open your project(s). $50 to open a photoshop file is a bit obscene. Ya just gonna have to keep inserting those quarters into the Adobe bank for your lifetime….
Tim
Apple XRAID, XServe, 2008 2×3 GHz Quad-Core MacPro, Macbook Pro, XSAN, FCP Studio (7), AVID Media Composer, Adobe Production Premium, Maxon Cinema 4d, AJA Kona 3, Flanders Scientific Monitors, Panasonic HPX250’s, Kessler Crane, Glidecam…..
Beer fridge fully loaded. -
I want my “Hitler hears about CC only” and I want it now.
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LOL, ok, lemme try one more then, with a little lighter touch :).
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John Davidson | President / Creative Director | Magic Feather Inc.
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If Vivian Maier had been using today’s technology her work might have been lost forever.
In the future, if someone buys the contents of a storage locker and it contains a bunch of thumb drives are they really going to be as accessible as the thousands of Maier’s negatives discovered in such a manner?
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She most likely would have mastered the technology enough to know that you output to something like Quicktime or AVI, or XML, and your work lives on. There’s always a way to preserve your work – look at the all nitrate stock works which are now on the LOC, and had to be transferred to paper negatives:
https://magazine.creativecow.net/article/the-library-of-congress-unlocks-the-ultimate-archive-system
There’s always a way to skin the cat, as long as you assume that the current technology is going to go away…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com
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