Aindreas Gallagher
Forum Replies Created
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[Bill Davis] ” please let there be a team at Apple still tasked with thinking about what modern digital content creation CAN be”
fwiw – according to Phillip Hodgetts – there are twenty people left in Pro Apps.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Lance Bachelder] “it felt weird and somehow like I was betraying an Adobe product that isn’t even shipping yet by posting something positive about FCPX lol…”
arf! lets be fair – the one true anointed son of FCP has had a pretty good conversational run lately.
Really interesting article too – the event library always does look seriously tasty on its own monitor.https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jeremy Garchow] “Logic and intuition.
Think about all that needs to go in to producing a boxed set. And then about all the licensing that needs to go with that boxed set, the time constraint, the print, the “manual”, the shipping.
“please. no one is talking about discs here. Its all download all the time now regardless – adobe have ended physical boxed copies of the suites anyway. that point holds no water, and how does your logic and intuition say that it was crippling their ability to advance the software? what does that actually mean? where is the logic?
[Aindreas Gallagher] “I don’t want to sound heavy handed here – but you do realise that asking me to buy something, selling me wares – ie an upgrade, is a different incentive structure for the seller than having me continuously on a rental subscription. You do get that one of them is a stronger incentivising motive for the seller right?”
Is it? What’s the basis of that?
Seriously? OK. In one case – they are trying to convince you to buy something – they want to sell it you. In the other they have you on a contracted rental subscription – you know a feature of contract subscription? its called churn rate – because the entry barrier is gone, you get more casual entry to the market, and because as a business you are now managing subscriptions, not selling a product to consumers, churn rate represents loss of subscribers – as long as the new entrants are greater than those exiting – its fine.
Subscription based models develop very differently to consumer sales markets over time, and they tend to see securing customer lock-in as the best way to reduce churn. securing subscriber lock in will become a focused goal of adobe’s over time. Its a key goal with a subscriber base.
what I am tying to explain is that all of that stuff is familiar to anyone from telcos, cable etc. I’m not wild at the notion. One of the key goals, in the long run, regardless of industry, is to pen your subscriber base. You want them not to leave. You seem to think the only way to do this is to produce superlative products all the time. That is not what the history of large subscriber based company behaviour would indicate to this point. At all.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jeremy Garchow] “What if this new revenue structure allows them to produce better products”
what is the basis for that.
I don’t want to sound heavy handed here – but you do realise that asking me to buy something, selling me wares – ie an upgrade, is a different incentive structure for the seller than having me continuously on a rental subscription. You do get that one of them is a stronger incentivising motive for the seller right?
Also there is the issue with subscription lock in – if you chose to cancel on a year – you can look forward to paying a half year penalty. Its like a really bad gym contract that way.
also there is the issue that if you transition at any point to other software, it won’t be like keeping FCP in reserve, where it was a purchase and we can boot it up without thinking for a very long time. Adobe get paid everytime we want to boot the suite up.
If I’m being honest I’m almost mind boggled that people can’t or won’t see the variety of downsides to the proposition – particularly some of the potential downsides that won’t really shake out for a few years.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Jeremy Garchow] “I pay Adobe once for a perpetual upgrade license, or once for a yearly Cloud subscription, or once for a few months if I only need for it a few months?”
as long as there is that choice – then all is fine.
[Jeremy Garchow] “Am I really going to be worse off by paying a subscription fee? “
yes jeremy, I would argue, in the long run, you are. And if they get the majority of the customer base on subscription – I don’t personally feel that is an ideal outcome.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Walter Soyka] “I don’t think you can pay for a year of Creative Cloud upfront. “
dennis said it below – but just to clarify walter, you can bulk pay subscription up to 12 months in advance, but weirdly, they are still going to tie you to monthly activation checks, which I don’t understand at all.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Franz Bieberkopf] “If you look at node-based workflows, for instance, you would come out with a different division between NLEs. This might be of primary importance for some editors.
You might find the timeline difference to be the most important difference. By emphasizing that, you’re ignoring what others might emphasize as a defining feature.”
aye – there is a brilliant bit at nab where scruffy tv talk to the AE guy – he basically makes that point.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Walter Soyka] “trashing preferences, repairing permissions, resetting NVRAM, clearing boot caches, “
mate – that stuff takes literally no time. The issue would be full creative suite re-installs: that is a different order of magnitude altogether in a single billing day.
[Walter Soyka] “But bad stuff can happen to permanent installs, too, can’t it?”
I guess but rarely really? I feel like I’ve gotten away with that. FCP has been a rock for years and CS installs have genuinely been solid.
personally the worst I’ve ever had has been conflicting user permissions and stuff on a san. For FCP on OSX that gets insane incredibly quickly. did for us.Actually – to be fair – WinNT4? I loved that. Apps on that were nuclear tanks.
[Walter Soyka] “Creative Cloud has worked non-stop for me for the last year, bouncing the app across a bunch of different computers on both platforms. “
righto so. good to hear.
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Walter Soyka] “You might try installing some other application you haven’t already installed & activated. You can do this from a trial installer.
Close your Adobe apps, remove the file “opm.db” located in ~/Library/Application Support/Adobe/OOBE before relaunching an app to solve activation problems.
Uninstall and reinstall your applications (there are uninstallers in the applications’ folders on the Mac). Again, even if Adobe Application Manager is still hosed for some reason, you can download and activate the trial version with your Creative Cloud credentials.
“seriously though walter – that above does sound quite nuts. I’m half (half) swayed by the cloud, but for the likes of that to happen on a client day on say a three day turnaround gig? As a specific issue relating to cloud architecture?
that would be enough to make a soul run away screaming. Have you had any similar issues with creative cloud install apps at all?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics
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[Richard Herd] “If they’re not happy with something, back it goes onto OUR shelf, not theirs.”
But it’s not a lens richard – I’m unlikely to put the action of editing back on the adobe shelf, and, a few years into CC, I am unlikely to be able to put the sum total of the work performed in PPro mixed with lumetri, AE, custom keyframes etc to work in a competing product I transfer to.
Yes, I myself can switch to a competing product, the question is whether or not the works I have produced will go with me. XML – sort of to some extent – but really I will be relying on PPro for quite a while if I ever choose to transition away later.
Well ala FCP7 – thats fine – i continue outputting from last paid version FCP through the switchover period – which is likely to be extended – almost open ended. Look at Walter Biscardi – he has locked 10.6.8 suites handling all the historical works. His transition period is likely to run to three or more years
but thats fine right? He paid for FCP, like we all did. He owns the tool.The problem here is that in that scenario, say a few years down the road, on CC – you will pay adobe, no matter what, to sustain periodic access to your work, either annually, or at monthly rates, as you transition for however long it takes to run it out. At some point, eventually, that scenario is probably likely for quite a few people.
In that scenario it is hard not to see adobe as effectively owning access to your work executed with the software. That is where the lens, camera, tripod, outdoor cooker comparisons break down.
If you don’t own the software, you don’t own the product of the software. I think there are going to be certain scenarios where that really pinches.
A subscription can be quite the lock-in no?
https://vimeo.com/user1590967/videos http://www.ogallchoir.net promo producer/editor.grading/motion graphics