Michael Hancock
Forum Replies Created
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[David Mathis] “or at a resolution higher than HD”
Lite now supports UHD for output, but can work with any resolution. So you can use 5K footage to reframe, but can only ouput UHD.
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Michael Hancock
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[Jeremy Garchow] “f having an Avid style exit ramp, that costs more money in the long run is something that is of interest, fair enough. That is completely valid and it seems like it’s something Adobe could do, and really, it would be great for Adobe, less great for me (it’s $1300 to turn the subscription back on instead of $50).”
Just a quick thought on this – it’s only more expensive to go with a perpetual license if you purchase it and don’t keep up with your $299 support contract for at least three years (roughly the break even point). Your initial buy in is $1,300, plus two years of support/upgrades at $299/year. So in three years you’ve spent $1898.
If you subscribe on the annual contract then you’re at $50/month ($600/year). At three years you’ve spent $1800, and if you stop subscribing you lose everything. With perpetual you can stop subscribing and keep using your software forever. And if you’re using it on even a semi regular basis, it’s cheaper to just pay the $299/year support and buy a perpetual license. I mean, how many people bought FCPX because it was only $300? Even if you only use it for one project it should pretty much pay for itself.
If Adobe would have offered the same deal (keep your license but pay $299/year support, or even $499), I think they would have had a massive uptake of the creative cloud suite. The cost doesn’t seem to bother most people (I completely agree with you that paying for every program sucks, though. The need tiers) – it’s the lack of an exit that people hate. And if you make it cheap enough to just autorenew but really expensive if you drop it completely you can pretty much lock in your customers without all the ill will.
I think Avid’s plan is pretty smart. Adobe should pay attention to it. I’m interested to see how it all shakes out.
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Michael Hancock
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We’re all cheering for you Aindreas. You can do it!
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Michael Hancock
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[Jeff Markgraf] “So, to those in the know, are we talking about multiple users on the same open timeline? Or multiple users working simultaneously within a given project, but on separate copies of a common timeline? And, if such a thing were possible, would it be a good idea?”
Watch the “What’s New” video on the page below – particularly around 4:51 mark for working on the same timeline. It appears to actually be multiple people on the same timeline. It barely touches on it, but it’s there.
https://www.blackmagicdesign.com/products/davinciresolve
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Michael Hancock
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Oliver –
Did the demo guy drive R11 with the keyboard or primarily with the mouse? I watched all the demos on the Blackmagic site and the majority of the time it was very mouse driven (which may have just been for show).
Can’t wait for it to drop in June. Very interesting time to be in post!
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Michael Hancock
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That’s pretty funny, and well done too. It had my blood boiling for a minute.
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Michael Hancock
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Open the console in Avid (Cmd/Ctrl+6). Type “alldrives” without the quotation marks. Hit Enter. It should say something along the lines of “all drives now acting as media drives.” You might need to restart Avid, but try to import something and see if you can select the external drive now.
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Michael Hancock
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Are you sure he AMA linked the audio? Try batch importing them.
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Michael Hancock
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Avid does it too under most circumstances. If you render a sequence, move stuff around, then move media back to where it was when you rendered the render relinks. FCPX seems to do it under more circumstances, though (removing a lower third and cutting it back in from the original i your bin doesn’t relink to the render file in Avid, and rendering one sequence doesn’t result in a secondary sequence being rendered).
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Michael Hancock
Editor