[Craig Seeman]

Just being clear that just because other NLEs might work with ISIS, it’s not the same functionality as using MC/Symphony. Or at least Oliver clarified what I expected.

My point being there’s a good feature reason for ISIS users to to also us MC/Symphony.

[Craig Seeman]

[Oliver Peters] “You can and have been able to run other NLEs for years on ISIS.”

With the same feature set functionality on ISIS?
So FCPX would then allow simultaneous use of the same project as MC does?

AFAIK one needs MC/Symphony to take full advantage of ISIS unless you’re saying that hasn’t been the case for years.

[Craig Seeman]

I can think of two reasons for the difference in approach.
Adobe is much more concerned about complete abandonment from users, hence the “no painless exit” strategy.
Adobe, a software only company, gives you everything with CC even if much of the software is completely unrelated to your business.

That doesn’t make it a good business decision for a good portion of their users but Adobe, unlike Avid, is very willing to cut their user base while increasing profits IMHO. Apparently Adobe didn’t have a model for maintaing or increasing their user base as well as profitability. I suspect a lot of it rested on development and marketing costs.

[Craig Seeman]

[Andy Neil] “but old guard won’t allow it.”

FWIW I think the risk of offending the old guard has a bigger price for Avid. A portion of the old guard are dependent in ISIS and the like and people switching away from Avid means a lose of hardware sales and maintenance contracts.

One question Avid is probably grappling with is making it attractive enough for those who aren’t buying into ISIS systems so software becomes more profitable for them.

While I’m not sure what their next steps will be of course, it’s noteworthy that the monthly subscription includes Symphony option. It’s an additional cost if you go the purchase and subscribe route.

I think this is an attempt to expand their base with what they currently have.

https://www.avid.com/static/resources/common/documents/datasheets/Media_Composer/Media_Composer_License_Comparison_Guide_cs_A4.pdf

[Craig Seeman]

I’ve been one of those who has been negative on Avid but I think Oliver is absolutely right.

I think the new pricing model for the NLE is exactly what they need to make software a bit more valuable to them and more palatable to the user.

Avid’s not so much about bleeding edge features as their base is about reliability. What needed wasn’t a “wiz bang” but a more profitable and attractive software business model. They’ve done exactly that.

Low cost of entry to subscribe complete with Symphony Option.
A buy option with subscription for updates and the ability for the user to exit, if they chose, and still have MC.
The ability to jump back in if you’ve exited, even though it’s full price again (protecting Avid from loses from upgrade skippers).

Lots of options for the users and more revenue for Avid. Rather than antagonize their base, they now have avenues to expand their NLE sales and revenue… for those who value a conservative approach to features in exchange for reliability and key features other NLEs are still far behind on.

[Craig Seeman]

Given the cost difference between the two cameras one might actually get the ROI on the price difference before BMD actually provides all the promised features.

Unless something changes at BMD, the Ursa will ship six months late in ridiculously limited quantities. It’ll take close to a year before it readily available and another six months to a year of firmware updates before all the fixes are handled and features implemented. Maybe on this third camera from BMD things will be different but, given the price difference between the URSA and CION, I’m not sure it’s worth the difference for even a small productive production company.

I certainly like my BMD Pocket. But I keep in mind that announced at NAB 2013, a full year later there’s still no Audio Meters nor Time Remaining for the cards. This is also the case for the Cinema Camera from 2012.

[Craig Seeman]

Yes, Remote Desktop Presenter can send either the entire screen or a targeted window to the Wirecast computer over the same network. Wired Gigabit Ethernet is best. Wireless may have a lower frame rate. Keep in mind they’ll be some latency as well. Usually just a second or so. Wirecast recognizes Desktop Presenter as a camera source. Just add the shot. Make sure you don’t have a firewall.

[Craig Seeman]

It can be as simple as Telestream Wirecast and 15″ MBP Retina with two Blackmagic Mini Recorders (Thunderbolt) and Magewell HDMI or SDI to USB3, giving you three HD cameras streaming at 720p.
Wired private connection with about 5mbps up would be good. Otherwise you could get a Teradek Bond for inexpensive bonded LTE

Wirecast
https://www.telestream.net/wirecast/overview.htm
Mini Recorder
https://www.blackmagicdesign.com/products/ultrastudiothunderbolt/techspecs#31781
Magewell SDI to USB3
https://www.magewell.com/hardware/usb3-0-capture-dongle/xi100dusb-sdi/xi100dusb-sdi_features.html?lang=en
Teradek Bond
https://www.teradek.com/pages/bond

Turnkey Matrox VS4 Wirecast Windows systems which also do ISO recording
https://www.telestream.net/wirecast/matrox-vs4.htm

Yes you could get a Tricaster but the base model in analog in only. Tricaster 40
https://www.newtek.com/products/tricaster-40.html
Tricaster 410 would be SDI but you’re getting much more expensive than a turnkey Wirecast system at this point.
https://www.newtek.com/products/tricaster-410.html

Also worth considering Blackmagic ATEM switcher and use a laptop for switching and encoding
https://www.blackmagicdesign.com/products/atemtelevisionstudio

[Craig Seeman]

Maybe a temp file?
Maybe a cache that’s not clearing?

[Craig Seeman]

[Jeremy Garchow] “It is a mad world out there!”

Poor Matrox. No camera.