[David Lawrence]

[Oliver Peters] “But it’s rare. Most take the route Avid has to progressively upgrade and swap out modules under-the-hood.”

It’s definitely more rare in in the case of large, complex applications that have a huge user base (Microsoft Office anyone?). But with smaller developers, big reboots are the norm. Rogue Amoeba for example, just relaunched their excellent Audio Hijack application:

https://rogueamoeba.com/audiohijack/

Version 3 is a complete ground-up rebuild. It’s a totally different piece of software that the previous version.

Of course, Adobe is much more like Microsoft and Rogue Amoeba, but that doesn’t change that fact that marketing and licensing decisions and engineering timelines are entirely different animals.

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[David Lawrence]

[Aindreas Gallagher] “It’s impossible to avoid the fact that the engineering team is operating in ways that are far far far more interesting under club subscription membership. If that AE rev was a sell there would be an insane uproar – what do you mean multiprocessing is gone in this years release?? But the entire nature of the relationship is basically changed under CC. I could be coming over all pollyanna – but at least I’m getting crazy new engineering behaviour and balls out decision making for my membership buck. At this point I’m viewing the six hundred annual payment as going to the engineers christmas bar bill.”

Agreed! But…

[Andrew Kimery] “With that in mind though, if Adobe did this under the CS model (release AE 13.5 as a paid upgrade from AE 13.2) how well do you think that would’ve played with users? “

I don’t think they would have made this release under the CS model. I do think they would be working on it, though.

Transparency is interesting and cool, but I think Jeremy’s point still holds. They’re still doing yearly releases that are full version installs. They’re still marketing these yearly releases with banner features.

I’m sure you’ll see mid to late-year updates that make the under-the-hood changes in AE pay off. But I don’t think any of this has anything to do with a forced rental licensing model.

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[David Lawrence]

[Aindreas Gallagher] “I almost don’t care that the current AE rev would be half a building site for a year. I’ll just keep on using cc14.”

I could ironically point out that in the past with CS, you might have skipped buying this upgrade, but I won’t rub it in. 😉 The LCS in Pr does look awesome, btw.

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[David Lawrence]

[Walter Soyka] “I like that Adobe is trying to modernize without blowing up everyone’s workflow. I don’t want to manage an X-style transition on one app or another that I use every couple years.”

It’s just too bad they decided to modernize by blowing up over half their customers business models.

I think this 2015 release confirms what those of us who’ve been asking for a buy-out option have been saying since day one. CC is CS with some optional online tools and an always-on internet dongle to force payment of rent. The only thing preventing sale of perpetual copies of CC desktop software is Adobe management and Wall Street stubbornness. We’re in year three of a long game. I don’t expect anything to change for another year or two, but I predict Adobe will eventually discover that the “Like it or leave” approach to customer relations is not sustainable.

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[David Lawrence]

[Jeremy Garchow] “These aren’t nests, though, they are Auditions and they work completely different than nests. “

Aha, thank you. I read your post too quickly and didn’t catch that.

I haven’t used Auditions in FCPX but I have used them in Logic Pro, where they work basically the same way. Logic Pro has a timeline of course, but typically with music and DAW software, there’s a single timeline per “project”.

If I understand your argument correctly, perhaps a better analogy is that FCPX treats timelines like projects the same way music or DAW software treats timelines like projects?

I think that’s an interesting way to think about the use of the term. In that light, it makes a lot of sense actually.

I still think industry standards matter and they would have been better off with standard terminology. Especially now that the library organization structure is more standard. But based on how things were organized when they launched, I can see how it might have made sense at the time.

Thanks Jeremy!

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[David Lawrence]

Jeremy, this is very helpful, thank you.

I get where you’re coming from but as you might expect still disagree. 😉

[Jeremy Garchow] “Simple, right?

Well, here’s what’s in it after breaking most of the clips apart. I had to make a gif as I couldn’t fit it in to one screen grab:”

OK, but even though you get some nice new features like snapshots and auditions, I can still do pretty much the same thing on an open timeline with nests.

Compound clips are basically fancy nests, and as far as nests go, I only use nests when I absolutely have to. I don’t like nests because they make the timeline unreadable, just as your first screen grab doesn’t give any visual indication of the complexity buried inside.

[Jeremy Garchow] “I can store a lot of decisions in one single Project. When editing in this style, I rarely have to hit the Library, and mostly stay in the (ahem) Project I am working on.”

I do this all the time with sequences. If I string out five different versions of a scene or piece on a timeline and use I/O marks to export each, is that sequence by your definition now a project?

[Jeremy Garchow] “it becomes a very capable system. But (and it’s a big but) you have to like how it works. If none of this is important to you, then perhaps, Apple made a colossal blunder in the eyes of the edit deities.”

Yep, the latter would still be me. But thank you for taking the time to explain your thinking. From your perspective it does make sense.

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[David Lawrence]

[Andrew Kimery] “Media 100 includes Boris RED for professional transitions, titling, and compositing. As a bonus, when you purchase Media 100 for $99, you receive Boris RED for both Media 100 as well as Adobe Premiere Pro for Mac (CC, CS6, CS5.x). RED is a $695 value on its own!”

I’m sold. Totally worth $99 just for that!

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[David Lawrence]

[Oliver Peters] “I still contend that they simply used terminology that was consistent with other Apple software.”

Yep, that’s the only explanation that makes any sense. Still wrong though! 😉

[Oliver Peters] “I think way more thought has been given to it here in this forum than in the halls of Cupertino.”

I completely agree!

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[David Lawrence]

[Oliver Peters] “You’ll note the word Timeline is capitalized and it says “in”, referring to the pane and not the edited sequence/project. So basically anything you do in that pane is the Timeline. The thing you create is the project.”

Also note this language:

“When you create a new library it auto creates an event but no timeline (project).”

Timeline (project).

Even Apple can’t keep it straight. It’s an embarrassment, really.

I look forward to Jeremy’s post when he gets around to it (no rush), but I’m deeply skeptical Apple thought this language through. It’s just stupid and unnecessary.

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[David Lawrence]

[Aindreas Gallagher] “Losing magsafe is a bummer. It was a very nice security.”

I can’t tell you how many time it’s saved my laptop. Big step backward if Apple bails on it.

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