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Smarter and Faster
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[Tony West] “Not to mention that when you get there stuff moves out of the way.”
Well, in my experience with X, the requirement to constantly update the timeline display status means doing this with a large timeline is a real performance drag. For me anyway, it takes any join away in using X. As such, I find it faster to simply copy/delete and paste/insert, like I would do in Premiere. The clean-up is trivial in either app.
– Oliver
Oliver Peters – oliverpeters.com
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[Simon Ubsdell] “It makes you wonder whether they had in fact mastered all the different ways of achieving this result in those other NLEs (to borrow an argument that FCP X enthusiasts are fond of employing when championing its way of doing things).
“No, we were all dummies who were just waiting for the magnetic timeline so we could work as fast as the clever Editors!
Seriously though I’ve always found this function of the magnetic timeline to be more convenient than offering any real increase in speed, for me it takes a little less “think” time than a traditional tracked NLE.
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[Steve Connor] “mmm “snarky” :)”
Not snarky. Just a wink!
– Oliver
Oliver Peters – oliverpeters.com
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[Oliver Peters] “Not snarky. Just a wink!”
Ha! Don’t mind me, I’m just blasting out a few posts as I’m in danger of losing my number 37 spot in the COW “Hall of Fame”
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[Steve Connor] “Seriously though I’ve always found this function of the magnetic timeline to be more convenient than offering any real increase in speed, for me it takes a little less “think” time than a traditional tracked NLE.”
When you put it as reasonably as that, it’s hard to disagree.
But if everyone around here was reasonable, this place would have closed long ago …
Simon Ubsdell
tokyo productions
hawaiki -
[Oliver Peters] ” with a large timeline is a real performance drag.”
Hum. I never see that drag when I watch folks on these demo videos. If you get a chance to interview Thomas Carter, maybe ask him why his performance is zippy and yours is not. Ask what he’s doing differently than you.
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[Craig Seeman] “So you would blamed FCP legacy for its $1000 price point because Avid was tens of thousands of dollars or would you blame Media 100 because it was thousands compared to Avid’s tens of thousands of dollars?
Or do you blame that digital video because it was significantly cheaper than 35mm film (or even 16mm film for news and indies)?”
I think the lower prices created more jobs and, apparently software only companies are still finding viable business models.”
There’s healthy competition and there’s unhealthy competition and I think the current state of competition in the creative professional software space (and in software in general) is headed down the unhealthy road (which will be to the detriment of end users/consumers in the long run). There’s a big difference between charging $1000 plus a few hundred every couple years for upgrades and charging $299 once, or nothing at all, and leveraging 1st party vender lock-in based hardware sales to make up for it.
Yes, software only companies are still finding viable business models, but they are getting demonized for it even though it’s a required reaction to changes in the marketplace (such as those caused by companies like BM and Apple). To the point of everyone that hates Adobe’s business model makes, yes at some moment in time it’s not going to make sense to pay for an ongoing subscription when you can get something like FCP X or Resolve for peanuts (and I wouldn’t be surprised to see BM eventually drop the price of Resolve to be cheaper than FCP X). So what’s Adobe’s play then?
Let’s say they take a page out of BM’s book and buy AJA and Tangent. Adobe becomes a hardware company that sells the entire Adobe software suite for $250 (and gives a away a free version that just has a few high end features missing). Tangent panels now only work with Adobe software and if you need any sort of video I/O you can only use AJA products. Both BM’s and Adobe’s support of their hardware with third party software is spotty best because they’d rather you use Resolve or PPro respectively.
So now, as consumers, we are stuck having to choose between purposefully incompatible ecosystems again even though one of the best things about the desktop NLE revolution was that these arbitrary hardware barriers were broken down allowing us to easily, and affordably, pick and choose the best tools for each situation. And what about smaller competitors like Pixelmator or Affinity? When the entire Adobe suite is only $250 (or free) for life I’m sure demand for up and coming competitors like those will contract significantly.
As consumers/end users we end up with fewer options and no real incentive for new competitors to enter the fray. That doesn’t strike me as a good thing, but maybe that’s just the inevitable conclusion to a maturing industry in this day and age?
For simplicity’s sake I left Avid out of the discussion, but I think at this point Avid is the least likely to be pushing market trends/change/disruption compared to Adobe, Apple and BM.
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[Tony West] “If you get a chance to interview Thomas Carter, maybe ask him why his performance is zippy and yours is not.”
I’ve spoken with Thomas. He works on short form with low-res media using fast, local SSD media drives. That’s when FCPX excels.
https://digitalfilms.wordpress.com/2017/05/06/a-conversation-with-thomas-grove-carter/
– Oliver
Oliver Peters – oliverpeters.com
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It certainly will be interesting if Adobe gets into hardware.
Otherwise one has to consider that somehow Pixelmator and Affinity are surviving with really low buy prices.
Perhaps smaller companies will still do OK and it’s relative behemoths like Adobe that are having issues.
In fact Adobe had issues with the buy now upgrade and pay model which is why they switched.
Pixelmator’s solution was a new version called Pro requiring a new buy.
Maign KeyFlowPro also was to release a new version requiring a new buy.
It really looks like software that doesn’t go subscription will dispense with upgrades but go to low buy and buy again model.
Others will be buy but require support renewals to keep getting upgrades.
I really don’t see this heading to fewer choices so much as new business models.
The buy once own forever is being done by (some) hardware companies. That’s not shutting out other companies, with other business models though because each model affords a low entry price. That’ll be the common denominator. -
[Andrew Kimery] “and I wouldn’t be surprised to see BM eventually drop the price of Resolve to be cheaper than FCP X”
Aren’t we there already? They are both $300, but with Resolve Studio you also get the equivalent of Motion and Logic (sort of) tossed in. Plus, the standard version is free and does nearly everything you’d want to do up to UHD frame sizes.
– Oliver
Oliver Peters – oliverpeters.com
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