Who's really feeling Entitled?

Adobe's decision to move to an all-subscription model with the Creative Cloud is still creating headlines - at least on the internet. 

 In an article titled The Entitled Filmmaker | NextWaveDV, Tony Reale takes on those complaining about the extra cost they'll be paying, and labels them as the entitlement generation, suggesting they are pretenders to the title of "pro." He even goes so far as to label them as thieves as well:
I promise you there are people complaining about Adobe’s change to Creative Cloud that have never paid for a single copy of Adobe software ever.
Actually, that's a bit of a theme for Tony:
Tony Reale ‏@TonyReale 21 May
I'm very curious how many of the #CreativeCloud naysayers are currently pirating their version of @Adobe software. #justsayin...
Now, he's not suggesting everyone complaining has never paid retail for Adobe's software, but obviously he thinks there's a high statistical likelihood that this is the case.

 And for the record, I actually bought Production Premium CS5.5 when Adobe was offering the 50% discount for users of "other" systems and I also paid for previous versions of Flash, Illustrator, Photoshop, Dreamweaver, Director and even Premiere. And I didn't buy them from eBay either; some of those were bought before eBay existed!

 When challenged if Adobe's products are intended exclusively for pros (and by pros, I'm assuming his definition of a pro is someone who doesn't need to care what things cost) Tony answers "In a way, yes." Adobe, meet Abercrombie & Fitch. #justsayin

Now, I know it's dangerous to make broad assumptions and statements about various demographic groups, but I'm curious; several pros have already said that the Creative Cloud is a great deal for them; it will be cheaper - at least under current pricing - than buying the full suite and upgrading each time. Which begs the question; assuming Adobe plans to continue to make the same amount of money as they are currently making, then someone must be paying more.

 Under Adobe's new pricing model, it appears that the non-pro market Tony dislikes will actually be subsidizing his software.
Makes you wonder who's really acting entitled...
One problem this created was a sense of “entitlement” among some novice, no-budget filmmakers. Everything should be cheap and anything that cost money was a “rip-off”. A $3000 jib? Rip-off. A $2000 monitor? Rip-off. A $800 light? Rip-off. And so it continued. In fact, when Canon was getting ready to announce their first professional, large-sensor video camera, there were a large number of people who expected the price to be under $4000.
The Entitled Filmmaker | NextWaveDV

Comments

AnticipateMedia said…
I found his comments outrageous, and I actually like Tony Othewise. We laughed about it all on this week's podcast.
May 30, 2013, 11:08:00 AM
Post a Comment

Popular posts from this blog

Sony GV-D200 review

Image
Sony GV-D200 I've been using a Sony GV-D200 deck to transfer old Video8 and Hi8 tapes. Some of these tapes are over twenty years old, and no longer having a Hi8 camcorder that worked I was concerned that if I didn't do something about transferring them to a more modern format soon, I might never be able to. While Sony no longer make camcorders that use these tapes - that I know of - Sony does still sell the GV-D200 deck (or Video Walkman, as it's sometimes labelled.) They also offer the GV-D800, which is almost identical but adds a small LCD screen for about $120 more. I didn't think I'd need a screen since I was using this to capture to the computer, but you will need an external monitor when you first set it up. Physically, the device is small. At 5 7/8" wide, 5 3/8" deep and 2" high, it's the smallest video deck I've encountered. I used to have a Video8 deck that I thought was small; and it was twice as deep and twice as high. The t...
Read more

Response: Which iPhone to Get?

Image
In response to my iPhone musings, I got the following reader email which actually sums up a lot of my second and third thoughts too: You might have a point about the fancier camera, but otherwise I would buy the smaller model. Its screen is about the same size as that of my Nexus 4, and I don't feel at all like it limits me with a too-small screen. But I do sometimes stretch to get my thumb the reach to the other corner of the screen. It is plenty big for a phone. A phone is a pocket thing. (Well, in my case it lives an ancient REI soft sunglasses case that I have on my belt.) Ubiquitous, handy, convenient, almost always with me. Small is crucial for all of that. Certainly a large screen is cool, but you need a place to put it: don't break a fundamental feature of a pocket phone by getting too big. That is what your small tablet is for. I have my phone with me almost always. I have my Nexus 7 tablet with me nearly as much. The bigger screen is great, yet it fits in some...
Read more

Should you buy the Sony NEX-FS100 Kit Lens?

Image
The Sony NEX-FS100 is available in two configurations: B & H : NEX-FS100U Camcorder only $4,999 B & H : NEX-FS100U (with 18-200mm lens) $5,599 But what does that extra $600 get you? It get's you this: Sony 18-200mm f/3.5-6.3 Zoom Lens for NEX Camera This lens is also available separately for $799.99, so at $200 off you'd think everyone would be jumping on it. But not so fast... In his article about switching from the Canon 5D Mark II to the Sony NEX-FS100 , Paul Antico  at Need Creative says of the kit lens: 7) Its 18-200 F3.6-6.3 kit lens absolutely sucks and should be avoided (thankfully, you can order it without one) [ 1 ] But is it that bad? At B & H 's site, 43 reviews give it an average of 4.6 out of 5 stars. That's not a bad rating, though many of these people are using it for stills, and the most common complaint noted is how large and heavy it is. Of course this feeling of size would be exacerbated when you put it on a tiny camera ...
Read more