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The New Adobe
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Apology accepted. I know this has been a tough time for you guys and you have my respect. You, Todd, and Kevin are a great bunch of people. Often we hear too many complaints and not enough positive feedback. I feel positive feedback is just as important, if not more so than all the negative stuff that goes on. I just see CC as a business decision, nothing more. Might not agree with it, but accept the fact that it is just a business decision.
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[Dennis Radeke] “That’s not an excuse nor does his retracted statement reflect Adobe’s commitment and passion to our customers. He said something in the heat of the moment “
Heat often reveals truth, and while it might not be diplomatic, I believe that statement perfectly distills Adobe’s position. That won’t stop me from switching over to CC next month, but to quote Julia Child, all he did was call a spade a shovel.
Herb Sevush
Zebra Productions
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nothin’ attached to nothin’
“Deciding the spine is the process of editing” F. Bieberkopf -
[Jeremy Garchow] “I know personally, I would have to pay to stay current as all the artists I work with will stay current. “
Many users need to stay current though many users don’t. I feel like most of the voices against the subscription policy are people that don’t have to stay current. Adobe gets good will plus a big uptake in CC subscribers and users that want an off-ramp get one. Win/win. For the foreseeable future I will have to stay current, but if for some reason that’s no longer the case it would be nice to know there is an off ramp.
[Jeremy Garchow] “I’d much rather see lower prices for those of use that don’t need all 35(?) CC apps and see some sort of microtransaction for usage. “
I’d like to see that too. Bundles like the CS bundles with a lower monthly rate since not everyone needs the Master Collection.
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[David Cherniack] “Maybe BM can speed it up but it doesn’t appear that Apple has, despite its great resources.”
Understood. But, like Premiere, BM has years of track based NLE’s to work from, so to say it looks like Premiere or FCP8 is easy….because that’s where it’s based. The ramp up time is much quicker getting there. Apple, whether you like it or not, changed the way one can edit. It’s creating this as it goes. Better or worse? That’s a personal and business decision.
Scott Witthaus
Senior Editor/Post Production Supervisor
1708 Inc./Editorial
Professor, VCU Brandcenter -
[Andrew Kimery] “lower prices for those of use that don’t need all 35(?) CC apps and see some sort of microtransaction for usage. ”
I’d like to see that too. Bundles like the CS bundles with a lower monthly rate”
And even one further, you can throw the various effects in the price equation too. Sometimes I need a lot, sometimes I don’t need any.
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[Scott Witthaus] “But, like Premiere, BM has years of track based NLE’s to work from,”
Despite Adobe having a 10 year history with Premiere, when they came to re-write it as Premiere Pro in the early 2000’s it still took until version 5.0 until it even began to work well. Some would argue that it took until 7.0 (cc) that it matured. But it should be pointed out that Adobe didn’t really start throwing resources in a major way at Premiere’s development until Apple’s Götterdämmerung gave it an opening. I’d argue that NLEs are such complex applications that whether it’s Apple or BlackMagic it’s still going to take about 5 years.
David
https://AllinOneFilms.com -
[Andrew Kimery] “Many users need to stay current though many users don’t. I feel like most of the voices against the subscription policy are people that don’t have to stay current. Adobe gets good will plus a big uptake in CC subscribers and users that want an off-ramp get one. Win/win. For the foreseeable future I will have to stay current, but if for some reason that’s no longer the case it would be nice to know there is an off ramp.”
This. ^
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David Lawrence
art~media~design~research
propaganda.com
publicmattersgroup.com
https://lnkd.in/Cfz92F
facebook.com/dlawrence
twitter.com/dhl
vimeo.com/dlawrence/albums -
Bret, yes, I’ll keep a watch. I looked at exactly those Resolve 11 features longingly, especially transition control and keyframe control. These may not seem like much to someone working fast & furious, but asymmetric transitions and subtle key framing control of layering can really make the effect work. Also it’s why we need key framing in color correct. If you can begin and end the dissolve when and where you want it, control the curve as particularly light or dark parts of the frame come up and then go away, you can make transition that don’t even look like a dissolve … more of a melt that slips by, almost … “visually inevitable.”
In my high school class, I like to show the opening of Apocalypse Now, mainly to make the point that months were spent getting the compositing laid out just right — the ceiling fan overlaying Martin Sheen’s eye socket perfectly — but a modern NLE can do it “live.”
But some of the subtleties are not going to happen using out-of-the box FCPX.
Doug D
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[Andrew Kimery] “Many users need to stay current though many users don’t. I feel like most of the voices against the subscription policy are people that don’t have to stay current.”
Perhaps.
Let’s play devil’s advocate.
As Adobe, is this who you build your business around? The people who don’t need to stay current? How much does that cost to keep track of the people that don’t need the updates? Lawrence says it’s minimal, and maybe he’s right, but what is the true cost in potential revenue, in lost time updating older applications, and then the lost time trying to keep up with all the versions. How does Adobe service those customers? And if they don’t service those customers, where is the good will?
FCPX received tons of flak for not catering to professionals. Adobe CC delivers a service directly to the veins of working professionals. Adobe CC does not currently cater to the part time video professional. Perhaps they could cater to that audience differently as they have to photographers. Photographers are a freelance bunch too, right?
Why haven’t photographers complained as loudly as video? Because, I would surmise, the price is right. I don’t feel that the Adobe CC price is right for some of the freelance or part time video crowd.
[Andrew Kimery] ” Adobe gets good will plus a big uptake in CC subscribers and users that want an off-ramp get one. Win/win.”
Again, how much is good will worth to Adobe? I’d would guess, probably not very much. I know that the business I take on good will loses more time and money than paying gigs. If the price is right, the off ramp becomes less necessary as the penalty is reduced. Realistically, I can’t imagine how you could use old “off-ramped” software with all of the new formats, resolutions, codecs, and available computing power today. The constant barrage of updates are also feature releases as well as bug fixes. As we are all well aware of, this is the new software model. Most likely, if you need to dip out of the rental agreement only to revisit it 6 months to a year later (or more), you are going to need all the updates in order to get to work, so you might as well pay up anyway when you need it.
[Andrew Kimery] “I’d like to see that too. Bundles like the CS bundles with a lower monthly rate since not everyone needs the Master Collection.”
Ultimately, this is the point. We have a true working example of Adobe opening a dialog with what I would think is a rather large freelance customer base.
https://blogs.adobe.com/creativecloud/introducing-the-photoshop-photography-program/
This is where freelance/part time video professionals need to lean on Adobe as it is a working model that seems to work a lot better for everyone.
Jeremy
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I adobe added those that need to stay current to those who dont it would mean more money. catering to a couple million users and shoving off 4 or 5 million users is dumb business.
ricardo marty
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