[Andrew Kimery]

[Mark Suszko] ”
Or is it just something to do with the business calendar and inventory numbers?”

There’s inventory for plugin downloads? Probably just something for the business calendar.

[Andrew Kimery]

[Joshua Jackson] “Are you saying that it will sync multiple clips, throughout the timeline, with audio?
I was under the impression that it would only sync to a single position (thusly, leaving all the other clips out).
JJ”

It will sync everything that matches but create multiple timelines for each ‘group’ of synced things. For example, if you had three different shoots in a day you will get three different multicam timelines (one for each shoot). You won’t get all three shoots in the same multicam timeline. If you want them all in the same timeline you can just copy/paste.

[Joshua Jackson] “Myself (and multiple other people) are having an issue where PP CC doesn’t import audio from our video files.
So, the audio sync option is greyed out.”

Well that’s a show stopper. What kind of files are you using?

[Andrew Kimery]

[Joshua Jackson] “Everything I’ve seen requires each source to be its own timeline “

No need for that.

Select all the media in your project window, right click, Create Multi-Camera Source Sequence.

For Sync Point select Audio (Track channel: “Mix down” if that option is available)

For Sequence Preset just choose what your want the sequence to be.

Check the box for “Move source clips to Processed Clips Bin”.

For Audio I typically choose All Cameras and Mono.

Hit “OK” and PPro will sync up everything that has matching audio.

Once it’s done you’ll have a multicam timeline (basically a nested sequence) and probably some clips left over if they didn’t have audio. To add in the clips that didn’t have audio just open up the multicam timeline (right click, open in timeline) and the put the clips w/o audio on new video tracks and try to match them by eye. Once that’s done just close the timeline and you should be good to go.

-Andrew

[Andrew Kimery]

[Robin Erard] “Saddly, this isn’t the case. The camera hasn’t good audio record for editing.
“

The camera audio isn’t needed for editing, it’s just needed for syncing. Using the multicam feature PPro can sync your good audio to your video much faster than someone could do by hand.

[Andrew Kimery]

[Robin Erard] “Someone on “Adobe Chat” said me we have to redo all sync, and create new merged clips… It’s impossible, this sync job lasts for 3 weeks (2050 clips…), so we don’t want to loose 3 weeks of work for a simple “attributes clip” problem. Maybe it’s a simple thing do change into code. In FCP7 it worked, and I’m sure Adobe has a lot of experience for that.”

I’ve never used merged clips (because I read about a lot of problems they can create), but if your camera was recording scratch audio you use the built in sync-by-waveform feature in PPro to sync all your audio and video and turn it into a multicam clip. This is how I deal with dual system sound even if I only have one camera. By letting PPro do it you could probably re-sync everything in a day or two.

-Andrew

[Andrew Kimery]

[Scott Witthaus] “How about “sponsored modules”. So Premiere could have “The Premiere title tool is brought to you by Yugo. Yugo and Adobe, partners moving forward”. Or pop-up ads on each interface module. Perhaps on the color corrector there could be an ad for 4K monitors? “After Effects Key Framing brought to you buy Bausch and Lomb. We have the products to see those little damn things”. Hey, it could happen! ;-)”

Just like the Amazon Kindles. You could pay full price for no ads, or get a discount for having ads displayed when you open and close the program.

[Andrew Kimery]

[Ricardo Marty] “What pdf are you talking about?”

Oops, forgot the links.

Here is the article:
https://prodesigntools.com/creative-cloud-one-million-paid-members.html

Here is the PDF that the article sourced (the PDF is dated March, 17th 2016):
https://www.adobe.com/content/dam/Adobe/en/investor-relations/PDFs/71306102/ji83maQk1pI8.pdf?sdid=XPCNHDBW

[Andrew Kimery]

[Ricardo Marty] “Adobe is not telling how many subscription it has per cloud or per product. So we dont know what market segment they are dominating. is it the creative cloud? the marketing cloud? or the print cloud?
Which cloud is growing or stagnent?”

Maybe I’m misunderstanding what you are saying, but this article (and click through to the PDF from Adobe) breaks things down by Creative Cloud, Marketing Cloud and Document Cloud.

[Andrew Kimery]

[Darren Roark] “Again, true to a point, the support contracts essentially are, so if you want updates you either subscribe or you buy the contracts AFAIK. “

And if you wanted an update from FCP 6 you had to buy FCP 7, but no one is going to call that a subscription. Subscription means that if you stop paying the software stops working and my perpetual license to Avid 8.4.x won’t expire on me just because I don’t buy another 12mo support contract.

Another big change to game is how quickly upgrades are rolled out. It used to be we’d wait 18-24 months between feature upgrades and now people start beating the drums if it’s been longer than six months. This demand for a shorter product cycle is another reason the software business model has changed. We saw Avid get boinked by SOX (and eventually delisted from NASDAQ for withholding SEC filings as it sorted itself out) for releasing free bug fixes that also included feature updates/upgrades at no charge (see Tim’s post about HDV for $49 for an example of the nitty-gritty of the line that Avid crossed). By going to a subscription model, or a 12mo maintenance fee, you can release feature upgrades at no charge to your heart’s content w/o worrying about violating fed regulations.

[Darren Roark] “On Deadpool they had developers working alongside the editors, since this isn’t the Watergate scandal, it’s just software, it’s a reasonable assumption they aren’t going to openly go negative in a case study article. They had dedicated developers working with them, you become close working on a movie with people. “

Adobe having devs on site and creating custom fixes for problems as they came up (and those fixes eventually becoming part of the standard build) was well talked about (even in Adobe puff pieces). Is there some major problem you know about that wasn’t talked about?

[Darren Roark] ” It will be telling if they do PP on Deadpool 2 or switch to Avid. “

Not DP 2, but Kirk Baxter started a post house a couple years ago and I believe they use PPro (exclusively or not I do not know).

[Darren Roark] ” What I was saying earlier is that Avid has done a great job scaring people into even trying FCP X here in LA. So in the talent pool war, Avid is still winning that one. “

Apple did a great job blowing up their own inroads into that market, they didn’t need any help from Avid. While Avid did get some of the former FCP 7 market in LA, I’d say most of that market went to PPro (even though Avid also ran “own your software” ads once Adobe went subscription only).

[Darren Roark] “If XML and multicam editing came with v10.0 I think the conversation would be much different now. “

I agree that if X launched as a more feature-rich product the conversation would be different, but you don’t get second chance to make a first impression. Many people still have the FCP X-at-launch version in their head because they are editors not tech heads and, there’s not much push from Apple to wash that bad taste away. Also, much of X’s functionality comes from third parties so even if you go to Apple.com you’ll still get an incomplete picture of what X can do compared to going to Avid’s or Adobe’s sites to learn about their respective products. The third party market for X is impressive, but again if you are trying to win someone over that’s just another hurdle to get by.

[Darren Roark] “Similar issues I’m having now with multicam clips and detached audio on the documentary. I’d be happy to privately discuss the specifics I was told. “

I do a lot of multicam work with detached audio (I assume by this you mean 2nd system sound?) and would love to hear what you’ve heard. Or is this just for Oliver’s ears? 😉

-Andrew

[Andrew Kimery]

[Darren Roark] “This is how BMD gets around it too. Resolve is a ‘feature’ of the ultrastudios and other i/o products. “

BMD is also a private company and private companies don’t have to follow the same rules the publicly traded companies do (rules set to protect the investors). All the SOX stuff, for example, only applies to publicly traded companies AFAIK.

[Darren Roark] “What I find really interesting is the other two “A” NLE companies have turned the idea of paying a monthly fee as a form of peace of mind that you will keep getting new ‘stuff’ on a regular basis. That they are working away to earn that money. “

Avid isn’t subscription only.

[Darren Roark] “The greatest win Adobe and Avid have is convincing customers that they are better off for paying forever for their products because they promise not to abandon their users. “

You don’t pay forever you only pay as long as you need them. Plus the software game has changed into a race to the bottom thanks in large part to Apple. Giving away OS X and many of the polices they set in their iOS and Mac App stores (which finally they are changing some of them) has forced others to follow suit and it’s devalued software. In the pro space BM is part of this too with Resolve. For example, SG is basically dead in large part because how do you compete with a free version of Resolve that functions 97% like the paid version (which itself is only $999)?

As I’ve mentioned multiple times before, it’s not a coincidence that freemium, ad supported, subscription, etc., business models for software have up-ended the traditional “buy it, then buy the next version at a discount” business model over the last 5-6 years. Even PC and console video games are starting to edge away from it towards free to play games that are support by micro-transactions or ‘platform’ games where you buy it once, and then upgrades to it come out (as opposed to a whole new version/sequel two years later). Even MS is moving into the subscription and the hardware business. The old way of just selling a perpetual license for a piece of software is dying. Either you subsidize your software with hardware sales or you find an alternative business model like freemium, ad supported or subscription. I mean, in what way could Adobe compete the ‘$299 and free upgrades for life’ business model Apple has with X?

-Andrew