Franz Bieberkopf
Forum Replies Created
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Jim,
I suspect that this is probably serving one category of user quite well – the larger clients. It may even be seen as a lowering of costs to them, where smaller clients see it as a rise in costs.
The arstechnica posting has put it most succinctly:
The people who the software-as-a-service phenomenon hurts are the those who use the software infrequently, would rather not upgrade to each new version as it rolls out, and are content to continue using old versions until they literally will not run on new hardware and operating systems.It seems educational pricing is hit particularly hard by this (as we’ve seen here in the forum). But that may be self-correcting as institutions start teaching other software.
But, yeah, I roll my eyes whenever someone posts “Won’t somebody please think of the corporations and their shareholders!”.
Franz.
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[Bret Williams] “No guarantees beyond the immediate present.”
Bret,
So you aren’t interested in films, pictures, recordings or any other media from the past? Or you’re satisfied with limited access to them?
Perhaps that is the prevailing wind. It’s a fascinating thought.
Franz.
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[Walter Soyka] “And as our applications grow and diverge, the ability to meaningfully restore an archive at some point in the future diminishes.”
Prediction:
Undergraduate in Digital Archeology, Masters Specialist in Motion Picture, Video, and AudioFranz.
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[Walter Soyka] “If I could have rented floppy access for a month, I wouldn’t have had to rely on a “machine in the corner.””
[Walter Soyka] ” I encourage everyone to keep their data as portable as possible. I’m currently advocating exporting XML as part of the mastering process.”
Walter,
Agreed, but this underscores the long term problem with digital (on all levels) and represents a shift or needed shift in maintaining into the future.
Archive, as a media problem, and as a meta-data or project problem, seems to be getting more complicated, not simpler.
(Wistful note about film negative.)
Franz.
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[Walter Soyka] “What on earth am I going to do with a 5.25″ diskette drive now?”
We look forward to future posts.
Franz.
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[Walter Soyka] “Many here are looking at this from a pricing and control standpoint (with pitchforks and torches in hand)”
Walter,
As someone who is a bit ambivalent and trying to keep an open mind about the rental model, I can’t help but think about your post a few weeks ago with the old floppy drive and (Beta? 3/4?) decks …
You can’t keep a machine in the corner for future dust off (when you might least expect the need) with CC …
Franz.
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Well, then.
This is definitely the “other shoe” I’ve been waiting for that would explain the big mystery about the name. CS Next indeed.
Franz.
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[Steve Connor] “Looks like it is, some tech sites have announced it as well.”
Steve,
Any links?
Franz.
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[Oliver Peters] “There’s been some discussion of browser-based versus sequence-based organization. I don’t think X locks you into a browser-based approach. Personally, I use the event organizing very lightly. For me editorial decisions are all about juxtaposition and that only happens in the edited timeline.”
[Jeremy Garchow] “I don’t think FCPX locks you to one way or another. Tab based sequences would help here, but it’s not impossible to create “selects reels” in FCPX and choose from them.”
Oliver, Jeremy,
I certainly haven’t imagined any “lock-in”. But it seems evident in the split between events and projects, for example, and in a focus on the tagging and selection tools that FCPX took a browser-based process to model the software on.
For purposes of an example, I’ve just counted: on the current project, I have over 500 sequences organized in about 15 projects (I’d guess another 50-100 sequences before I finish). (This is slightly atypical in that I usually only have maybe 5 projects.) Nothing that I’ve read encourages me to attempt this in FCPX, to say nothing of the compound clip/event and project/project library split. (Contrast this with PPro, where I find the possibility of importing timelines from various projects into one “meta project” collection – I’m interested to experiment with that).
If I were using X, I’d spend almost no time in the events (after import) unless I worked with compounds. (Pending questions – why work with compounds and not projects? Why work with projects and not compounds?)
One project I’m consulting on is using my approach in X, but he’s got far fewer sequences and he’s only now headed into territory where those will start to multiply. It’ll be interesting to see how that works out.
Franz.