Premiere Pro CC it is then?

[Clint Wardlow]

[Joseph W. Bourke] “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”

Not really. If you read about Vivian Maier’s life, she weasn’t really interested in promoting herself as a photographer. Most of the people in her life didn’t even know she was doing it. The discovery of her rather spectacular body of work came by accident.

And it are these Under-ther-radar artists whose works will be more difficult to dig up in the future. Or even something that seems valueless today, but is of great worth to future generations.

As I have said before, the new technology is great in many ways (more people can participate than ever before), but it is also somewhat ephemeral. All but that which is valued at the moment may disappear like smoke. Would Vincent Van Gogh, who never sold a painting in his life time, have been preserved for future appraisal if he had worked today with modern technology?

[Gary Huff]

[Clint Wardlow] “If Vivian Maier had been using today’s technology her work might have been lost forever.”

You mean like the majority of those films from the silent era?

[Jeremy Garchow]

There are many free digital storage services available today.

Perhaps, artisits of today, have more control over their own work than ever before becuase the digital work can live in multiple places.

Maybe we need to take responsibility and preserve and maintain our work if we want it to persevere.

Part of taking responsibility of the work is maintaining it and updating what needs to be updated.

I realize this can’t happen in every case perhaps due to funding, perhaps due to negligence/lack of interest, perhaps due to unforeseen circumstances. I am not sure if Adobe has a role in this as you as artsist choose your tools.

[Bob Kimberly]

and what happens when os upgrades render your editting software unuseable or obsolete….i guess we should never upgrade the os then either or we run the risk of becoming obsolete! sounds like grasping at straws to me…..

[Clint Wardlow]

[Gary Huff] “ou mean like the majority of those films from the silent era?”

Not just silent films, but home movies, exploitation films of the 60s,videotape, books and the like all turning to dust and vinegar. I book printed two hundred years ago has a better chance of surviving than one printed last week due to the acid in the paper.

It has nothing to do with Adobe. However, in the future if someone finds a drawer full of thumb drives, what will they do with them. Will they be as accessible as a drawer full of negatives or super8 films?

I’ve lamented about this before. I guess I just have to make my peace with the fact that we live in a society of disposable art (which it has been for a long time, but is speeding up with the technology).

[Tim Vaughan]

We still have a Apple g4 running 10.4 and FCP7 connected to a beta deck for tape export. Do this type of job for long enough, and you’ll find out grasping at straws comes up more than you think. We still run older computers on our 3d renders. I’ve learned its best not to run in to something without some sort of backup plan, and this “forever pay us to access our software” raises red flags long term.

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.

[Bob Kimberly]

trashing before thinking seems to be the norm here…i sense alot of insecurity whenever a change is near! i still can’t believe that people are upset at this….tech moves forward and you can stay put or move forward….i find it impossible to believe the earlier comments about people using g4’s with 10.4 OS. in tech terms thats over a century ago! the price of this suite is so cheap compared to buying it outright and if you factor in the cost of yearly upgrades then it still is cheaper. i wont even mention the fact that a large majority of editors are running some cracked copy of CS 5 and never paid a cent to use it….our company used to spend thousand per month on flame licenses and we never owned the software….none of the projects created on it even exist now except as old beta tapes somewhere! so just keep using the old crap until you die or hop aboard the space ship to the future. i’m sure some of these people still think that D1 is still a viable format!

[Joseph W. bourke]

Clint –

I would never have run across Vivian Maier’s work if it were not for this modern technology. Thanks. I firmly believe that there’s always someone who likes to take the unbeaten path, find the undiscovered, then turn others on to it. It’s easier than ever now, but, as you say, it can be more fleeting…

Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com

[Joseph W. bourke]

I don’t know Clint – when I look at what Google is doing with book scanning, what the LOC is doing preserving film archives to paper negatives, and what the Prelinger Archive is doing with ephemeral films such as early cartoons, home movies, training films and even “blue” movies, I feel that there’s a movement going on:

https://archive.org/details/movies

And to take up the argument that Super 8, or other film formats are superior to finding an archive of thumb drives, or DVDs, I just don’t have an answer. I have a library of live music I created from performance recordings of bands I was in from the 60s on, and no way to play them back. Granted, I could buy a 2 track R/R deck, but the same holds true for a thumb drive, or a floppy disk, or whatever obsolete format you’re talking about. It gives one pause to think…there really is no universal archival format, but digital seems to be heading the right way.

Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com