David Lawrence
2
COW Coins
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[Richard Herd] “Yep. I was a victim.”
Me too. Three times. I’ll never buy LaCie again for that reason.
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David Lawrence
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[David Mathis] “I guess the Avid “good enough” approach is apparent from the interface and ways of working remain almost the same. On the other hand, earlier versions of FCP were the opposite, which is why FCP X came into existence.”
I would take exception to the notion that earlier versions of FCP before FCPX weren’t “good enough”. Probably, so would the documentary makers who continue to use it. And the editors who’ve won Oscars with it. 😉
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David Lawrence
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[Bill Davis] “Really, Magnetism isn’t a single “thing” iIMO. It’s part of the cohesive editing system in X. And to isolate it and talk about it in the absence of the database that drives it and connected clips, secondary storylines and the other X vertical relationship “stickiness” elements – can only lead to more misunderstanding and more editors not truly familiar with X missing the larger point. “
Not really.
I find FCPX’s database incredibly useful for quickly logging and organizing footage without ever touching the magnetic timeline. They work together but they also work separately and like any tool, FCPX can be adapted to uses that may go beyond what the designers originally imagined.
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David Lawrence
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[Tim Wilson] “Keeping transactions smaller and more frequent puts ALL the power with you. Make Adobe keep earning your business.”
Tim – similes aside and with all due respect to you and Dennis, I think you’re both ignoring the elephant in the room.
If I have to pay the software vendor rent *forever* or lose the ability to open the proprietary project files containing my creative property, how does that give me, the user, ALL the power? What if I’m an artist with years of investment in creative work done with the tool? What if my work is completely non-commercial with no client to bill? How do I just walk away from years of investment in the ecosystem?
I’m not following the argument.
Let’s take the software rental model to its logical extreme. Let’s pretend that every application on your personal computer required monthly rent *forever* or it stops running. How many applications do you have on your machine? I have over 200. Even at a buck a month it’s untenable. How about five bucks a month for the more specialized apps? See where it’s going? Is this the kind of digital world you want to live in? Would the personal computer revolution have happened if it started with the rental model for software?
Yes, it’s about choice. No one I know of is complaining about subscription-based software as an *option*. But when rental is forced on users without an fair exit path, then it’s about something else entirely. There are many possible win-win scenarios that reward and encourage subscription loyalty while offering a fair exit. We’ve discussed them here at length.
You’re right it’s about power. But I must disagree that it’s about giving ALL the power to the user. It’s actually the exact opposite.
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David Lawrence
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[Jeremy Garchow] “I get it, I get it. Honestly. I didn’t want to make this about Adobe CC, but I do think it does touch on the resistance to subscription, in general.”
It’s exactly why there’s resistance to subscription. The only one who benefits from forced subscription is the vendor, not the users.
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David Lawrence
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[Richard Herd] “Premiere has a wonderful mixer full of sends, FX, busses and that’s really where Audio will sound its best — being mixed in the mixer. Here is my shoutout to Premiere’s Dynamic’s effect (audio): WooHoo! It is very powerful. Moving on…Audition is simply magic. I cannot over state that: Magic–I am really referring to the Spectral Frequency Display (SFD). Again: WooHoo Magic!”
Yes! Especially Audition’s Spectral Frequency Display… I mean painting out noise with a brush??? Crazy Magic!
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David Lawrence
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[Charlie Austin] “For what it does, it’s a pretty good deal for a Pr plugin. :-)”
Yep! Along with Xto7 it’s a great way to organize! 😀
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David Lawrence
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[Charlie Austin] “Finding stuff in X and then quickly locating it in Pr is much faster than trying to find stuff in Pr alone.. ;-)”
Agreed. FCPX is the best logging tool ever. It’s a great accessory for cutting in Premiere 😉
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David Lawrence
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[Robin S. Kurz] “If you think about it, getting rid of tracks in a DAW would also make zero sense in comparison. Audio follows a completely different paradigm where something such as the primary story line would make for no advantage whatsoever, since there is no such thing. As opposed to video.”
Nonsense. Audio and video are both time-based media and can both be treated similarly in terms of multi-channel representation in a 2D GUI. For example, consider multi-channel video installations, where there may be any number of simultaneous video streams presented at once. There is no “primary/secondary” relationship is such work. There are many other examples as well.
The Primary/Secondary paradigm in FCPX is a simplification that echoes A/B editing and it brings benefits to many workflows. But many of us treat video like audio on the timeline, which is why many of us like tracks.
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David Lawrence
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[Walter Soyka] “I do, and you could, too, if Apple ever gets around to adding deep color support to the OS.
All you need is a good monitor, a probe to profile it, and a color management-aware application.”
^^^^ Agreed!
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David Lawrence
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