Bill Davis
Forum Replies Created
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Two people doing the exact same thing.
One sees it one way
The other sees it another way.Because the place they START from mentally is not precisely the same.
In this case, the starting point is maybe what form of keyboard you sit as most often.
For a thousand other debates here, the starting point is more likely the original system you were trained on – or the style your first teacher conditioned you into, or the shortcuts you’ve encountered and come to value that I might have skipped over in favor of others more suitable to the tasks I do most often.
On another forum I just had a sports oriented editor explain his use of the term “melts” to me in a post – something in 30 years of editing I had never once heard. I didn’t feel it made me any editor. Just an editor who’s never worked in a specific shop that uses THAT terminology.
I sometimes wish we could all be a tiny bit less pissy here – myself included – but then I realize that this is often the place I come to relax after some of my MOST stressful problem solving work is done – so I’ll just issue another blanket apology for the times I am unreasonably “tetchy” here.
FWIW.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Oliver Peters] “Without any viable upgrade path for existing work from 7 to X built into the app. When X launched, FC Studio was pulled from resellers and the Apple Store. Later Apple allowed new full seats to still be sold to existing, but not new customers through their support channel. That was only after the blow-back they received, but no upgrades from earlier versions for existing FCP 1-6 customers. So it’s not cut and dried, but that pretty close to killing a product.”
We’ll have to disagree on this.
Because right now, I can take ANY of my FCP 7 or prior projects. (all the way back to FCP 1.0 if I wanted to maintain a historical machine and OS System that I obviously owned when I was using it) Launch FCP Legacy on a suitable machine. And revise my work for a client.
And I expect I will be able to do that for a VERY long time.
Therefore I am NOT “cut off from my IP” in any practical sense. My IP is the intellectual effort I put into designing those edits – and it remains mine to benefit from in perpetuity. That is simply NOT the case with a lapsed subscription where you get cut off from access to the enabling program code if you elect to stop paying.
Very different thing, IMO.
My 2 cents.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
I also occasionally get what I call “benign crashes” that APPEAR to be related to font handling.
My own fault, surely. I have scads of fonts that I’ve collected for various projects over the years and hardly ever go back and purge the old stuff – so it wouldn’t surprise me a bit if triggering some that old code resulted in OS dead ends.
Oh well.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Tim Wilson] “Some people see the glass half full, some see it as half empty, and some folks see it as some combination of evil, incompetent, greedy, or worthless. ????????????”
Nah, just typical “hardball business.”
I suspect that when your primary play is to your stockholders rather than to your customers, this is the result. That’s my opinion, and it’s going to be pretty hard to change, not because I’m not open to another narrative, but simply because I can’t figure out ANY other reason they elected NOT to do the same thing with Premiere Pro they did with Photoshop and Lightroom.
Why they let THOSE subscribers keep foundational editing access to THEIR work – but to put a barrier between the exact same thing for video editors and mograph folks just doesn’t make sense to me.
Yes, maybe there’s a reason for that behavior that was opaque to me at the time I was paying attention to this stuff – but when I find a clear difference between two things that could be the same, but are not – I try to figure out what the difference might be.
That’s all.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Tim Wilson] “I added emphasis to your Adobe Stock observation because I think people are missing the biggest deal about Adobe Stock: YOU CAN SELL YOUR STUFF FROM INSIDE CREATIVE CLOUD.”
I those folks can hope that it works better for them than most of the “royalty” based services in the history of the creative arts.
Where the VAST majority of content creators historically saw royalty checks measured in pennies.Be interesting when we start seeing stories from folks we know who are uploading their stuff to Stock, and perhaps start chatting about what kind of money they’re making in REAL terms.
In a system that essentially enables a million “stock video houses” – how will any one of them beat the odds and make any serious money?
Time will tell.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Tim Wilson] “That’s why the whole “locked out forever” trope has always seemed like a straw man. Philosophically offensive to you? Fine. Walk away, shake the dust from your sandals, and never look back. But the idea that anyone is locked into anything is nonsense. “
Then let ADOBE simply give me a way to KEEP the intellectual effort I have invested in doing MY work in THEIR software.
If I leave FCP X for Premiere – without a penny to pay – I can revisit ALL my effort in my historic FCP X work as it was the moment I stopped working with X. My historic timelines remain active and alive. Because they represent MY intellectual effort.
I suspect that if I could go back into my archives and find a copy of my FCP 1.0 software, load it into a machine that will run it, I could also load up the very first edit I created 25 years ago and make changes in it.
THAT is the issue here.
The subscription model AS PRACTICED by Adobe cuts their customers off from what I see as the customers own unique property in ways counter to those customers best interests. Adobe values THEIR IP over MINE and codifies that value into their subscription approach.
And I don’t think it’s an accident that this serves their business interests in making it harder to leave, the longer you create work in their system.
And sorry, but an XML pooped out that when loaded into another NLE loses a significant part of my work and makes me start over is NOT the same as letting me go in and access my own work from where I left off without further cost.
We will ALWAYS disagree on this.
And so it goes.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Andrew Kimery] “You are offering tutorials about about software, Adobe is offering the actual software; It’s a huge difference in what’s being offered, but the models are the same (they are both subscriptions).”
FIFY.
You are offering tutorials about “HOW TO USE” the software.There is only ONE “software.”
There are many ways to learn that how to use them all, including the ability to do it without spending a dime more than acquisition of the program – making my product OPTIONAL. (If hopefully VERY useful when it’s ready to go!)
Getting “locked out of your own IP because you didn’t continue paying a third party who should NEVER (in my opinion) nor in ANY way have the ability to separate you from your OWN IP” is, in my humble opinion, so far from the same as to be in a totally different universe.
How I see it. YMMV.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
Which “Diva Lite” are you working with?
If you’re taking about the Diva fluorescent banks, they are already ” soft” by nature to begin with..
But “Diva” gets mis-applied to a whole bunch of forms. So maybe you have a Diva Ring light or something else?
Drop some additional details here and I’m sure somebody will be happy to try to help you.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Joe Marler] “There is truth to this. While the higher artistic layers of editing don’t change, how to optimally implement this using FCPX is very different from a track-based editor. I hate to be negative but IMO there is a significant deficiency in the available tutorial content. Some of it is high quality and slickly produced but it focuses on the lower-level aspects — what buttons to push, not the new paradigm itself. There’s lots of info about the trees but not much about the forest.”
Hey Joe.
Would you mind dropping me a contact touchpoint off-line?
You can reach me at my name in reverse order (the davis before the bill) at Apples iCloud service with a dot com finish.
Would love to get your thoughts on a something if you have time.
????
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery. -
[Simon Ubsdell] “OK, so this doesn’t belong here, but I mention it to make a more general point. To anyone who can still remember those days, there was unquestionably something indefinably special about the process of cutting on a flatbed (or a Moviola). Was it the tactile pleasure of the physical interaction with the medium? The intrinsic slowness of the process that made you think harder about what you were doing? The magic of looking at a beautiful projected image rather than just a bunch of dead pixels? The performative aspect of every cut? The sheer physical labour of it that made you feel more like an honest artisan than a pretentious “artist”? The satisfaction of working with a magnificent piece of mechanical engineering costing more than a luxury car? I think ultimately the appeal was that it was a holistic experience, more than the sum of its parts, a holistic experience that made you feel connected, even if only by a slender thread, to a tradition of film-making stretching back to Griffith and Eisenstein.
By which I mean that speed and efficiency and modernity are not necessarily the only values it pays to think about.”
Here you go guys… don’t get TOO excited at the imagery…
Photo attributed to the University of Utah,
Posted by a friend yesterday on a private forum.Enjoy.
Creator of XinTwo – https://www.xintwo.com
The shortest path to FCP X mastery.
