Resolve 16

[Michael Gissing]

I’m going to look at it tomorrow. I have to be sure I’m able to jump back if necessary so I have some database and project backups to mange before that is possible.

I did see someone’s YouTube that showed how to install 16 on a Mac and keep the two versions & databases running. I might try that on my WIN PC so I can easily have current projects safeguarded but play with 16.

[Greg Janza]

Something that doesn’t get mentioned enough in these discussions about new NLE releases is how fully developed post ecosystems really can’t participate in the testing of the waters.

A robust post facility with multiple seats is fully committed to whatever software they’ve decided to go with. Currently for many facilities working in corporate communications that’s Adobe. For films and tv it’s Avid.

In addition, these operations rely heavily on the local freelance pool of talent to fill their editorial needs. And when looking from this perspective there would have to be a very good reason to switch since it would involve not only changing the software but also it would require mandating to freelancers that they all become proficient on new software.

When FCP7 exited the scene it was a forced re-assessment of what software should be used but now that Adobe has become the dominate platform (and Avid continuing it’s long time domination in tv/film) there would appear to be very little motivation to abandon a fully developed ecosystem.

I’m not saying that Resolve isn’t a fantastic piece of software. It is and I would be happy to work on it. But when working with larger operations this just isn’t going to happen any time soon.

tallmanproductions.net

[Michael Gissing]

[Greg Janza] “…there would appear to be very little motivation to abandon a fully developed ecosystem.”

It’s true that Adobe got a gift with the EOL of FCP Legend. But they have had to develop the product to keep customers with a subscription model. Blackmagic have developed Resolve in ten years to be a rival and of course they have to combat the inertia of entrenched ecosystems as they have come from behind in the edit area. But they have the same advantage that Adobe had. Resolve is already entrenched in many facilities to do grade & finish much like Adobe had a foot hold with AE & Ps. So both had their NLEs in by stealth when the vacuum was created. It would only take Apple or Adobe to drop the ball and those facilities will realise that they have an alternative NLE already in their system and it solves the big issue of transference from edit to grade & audio finish by starting in Resolve.

So I see that the switch could be faster than Pr taking over FCP7 seats. Outside of big facilities, the fact that Resolve is free or dirt cheap and cross platform is turning many individuals away from X & Pr. I’m seeing it in the freelancers who run their own suites and feed work to me. I think 16 might accelerate further this drift.

[Mark Suszko]

The line I used to use was: Premiere was a dongle people bought so they could use AfterEffects.

[Eric Santiago]

[Mark Suszko] “The line I used to use was: Premiere was a dongle people bought so they could use AfterEffects.
“

Still is for some.
It took a while for me to use it as a starter project.
I think we all lucky that we have so many choices and not breaking the bank kind.
I remember years ago having to buy an SGI Visual Workstation (Windows) and was forced to get Premiere for that.
I think it was around 2K at the time (I could be wrong).
Again go back to Media 100 and the old Avid man that stuff was expensive.