Brett Sherman
Forum Replies Created
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[Walter Soyka] “My argument is essentially that the new Mac Pro doesn’t conserve space, power, or heat — it just shifts it outside the computer case with all-external expansion.”
I don’t know what peripherals you guys are planning. But for me that assessment just isn’t true. I’m moving my storage to SAN or NAS anyways. And heck even now, my eSata tower uses lots of power with my “upgradeable” Mac Pro Tower.
Thunderbolt will power my Intensity Extreme. Other conceivable peripherals will also be bus powered, 10GE(?). Is there a way to power my monitors with a Mac Pro tower? Nope. So those are powered regardless. Active Monitor speakers are by definition powered. Most high-end audio interfaces have already moved off PCIE cards. So where are all the power savings with a tower computer?
The new MacPro will work well for me.
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[Aindreas Gallagher] “well, thats not over-broad at all.”
Welcome to the U.S. patent system. Just because a patent is given does not actually mean it is valid. It’s just expensive to prove otherwise. Companies like Apple use patents as an arsenal for both defense and offense against other companies or patent trolls.
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On another note. Is there a repository for Make available free Motion FX. I have a couple I’ve done that might be worthwhile to some people.
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Agreed. Alex you rock!
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[Paul Neumann] “But I think only talking about Creative Cloud in terms of the programs is pointless when you don’t consider the other features that come along with your subscription”
Given that I only use Adobe software occasionally, I’m not sure what possible “features” would be helpful to me. The 20GB of storage is practically useless for AE and Pr users. And I get 100GB with Dropbox for $8/month that I can use for whatever, not just Adobe projects.
Part of the problem with the CC model is that it presumes all users use Adobe apps all the time. That simply is not true.
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Let me just say how I’m going to respond to this pricing. I’m an occasional user of After Effects, Encore, Photoshop and Illustrator. Our organization currently owns two versions of Production Premium installed on two workstations and two laptops.
I will probably upgrade to CS6 permanent license for both. Likely, I will keep using that license as long as possible. When it becomes necessary to upgrade After Effects for new features, I will probably buy a single CC license for that one program. I will keep the remaining computers permanently on CS6. I do not foresee a feature in Photoshop, Illustrator or Encore that will require me to upgrade. After all I have CS3 on my personal laptop and have never felt I lacked anything.
While I’m just two licenses, the result is Adobe will probably earn less money from me over the coming years. I’m happy with FCP X, but this makes me less likely to consider Premiere.
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[Oliver Peters] “As a company that made money based on turnkey systems, they have had a tough time adjusting to a software-only business model, because that’s not where the money lies.”
They actually made the transition to software only fairly well. I chose Avid Xpress Pro over Final Cut in 2002 because I found it more solid. Their real problem came with the transition to HD – they got too greedy. While FCP users could easily switch to HD by buying a $1000 card, Avid required it’s users to upgrade to Media Composer and purchase an Avid Adrenaline (which never worked right) that totaled about $10,000.
At the time I thought they were crazy and said so, said they should merge all software products, said they should allow third party hardware or at least price their hardware competitively. Everyone on the Avid forums, including the end users, said I was completely wrong. At that point I gave up on Avid and switched to FCP. Of course a few years later they did exactly as I suggested. Had Avid accurately judged the market earlier, they’d probably be in a better position now.
Sometimes there is a small window for companies to make the right decisions.
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[Jeff Kirkland] “The downside is that Chronosync would have to copy the entire sparsebundle every night which could be in the hundreds of gigs.”
Chronosync can look into the sparse bundle and copy only the changes. In the options section look for “Special File/Folder Handling” and then select “Custom”. Then check the box that says “Dissect Packages” This speeds things up dramatically.
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It seems to me there are two arguments going on here.
One, is it okay to use software you have never purchased. I would say no, for paying work. Yes, if it’s a training exercise. Frankly, the 30 day window just doesn’t work for me. I end up using it for a couple hours, then get busy. The next time I sit down with the software, the 30 day window has expired. Now, FCP X was cheap enough I didn’t sweat purchasing it. And the one advantage of the CC is you’re not in for $2000 by the time you’ve really run it through its paces.
Two, is it okay to use a pirated copy or break the EULA when the software developer requires you to jump through onerous hoops to use their software. In this case I would say, yes.
There is no equivalent for the EULA for consumers. Essentially, consumers really have no way to demand rights. I think the notion of tying the licensing to a particular computer is wrong. You bought the software, the computer did not. You should be able to use it no matter where you are. You should be able to verify use on any computer with a simple log-in, so long as two (or other number) are not being used concurrently. If their server fails to respond it lets you open the program.
Do I like the CC licensing? Not really. But, I don’t think it would prevent me from going with Premiere if I chose to. I chose not to for other reasons. I do like Apple’s licensing much better. It offers me enough flexibility and 5 copies I can work with.
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Back to the idea of audio tracks. To me one of the most powerful things about the way FCP X organizes the timeline is the potential to have different views of a timeline. Unfortunately, it has not been developed by Apple at this point.
Bear with me, with roles one could tag video/audio clips with a certain track. Then in a “track view” it would assemble all the audio into their respective “tracks” even if it was part of a video clip. If you want to keep audio and video together you just switch back to the standard view.
If you move the audio clips around vertically in track view, it would change the role to the track number you moved it to. So you wouldn’t have to manually set every role. If you move the audio clip horizontally, it would detach the audio from the video.
A similar convention could work for video. But it would be a little more complicated because the stacking order affects the output on video, whereas it doesn’t with audio.
Of course, I expect this is thinking too far outside the box for many.