{"id":6959,"date":"2021-02-27T13:06:38","date_gmt":"2021-02-27T20:06:38","guid":{"rendered":"https:\/\/aleta.life\/?p=6959"},"modified":"2022-03-13T15:58:52","modified_gmt":"2022-03-13T22:58:52","slug":"digital-artworking","status":"publish","type":"post","link":"https:\/\/aleta.life\/index.php\/2021\/02\/27\/digital-artworking\/","title":{"rendered":"Digital Artworking"},"content":{"rendered":"

\u201cThere are two kinds of people in the world \u2013 the connected and the disconnected.\u201d \u2013 Michael Northcott, 2021<\/em><\/p>\n

\"adobe-no\"<\/a><\/p>\n

In 2013 Adobe changed its business model and went all in on subscription licenses. Customers could only upgrade and use Adobe\u2019s applications if they paid a monthly fee through its Creative Cloud website. If you didn\u2019t pay, you couldn\u2019t play. As a satisfied customer, everything changed as soon as we set sail. Subscription software works great as long as you have consistent, high speed internet access. Boarding Aleta meant I\u2019d officially joined the ranks of the disconnected.<\/p>\n

Working mostly offline, my license wasn\u2019t connecting regularly enough with the Creative Cloud and the apps stopped working. I couldn\u2019t edit photos, organize them, make videos, combine PDF documents, or create nifty digital artwork until I got re-validated. That meant finding a Wi-Fi hotspot, or synching up with my phone. Updates of several gigabytes choked my slow connection, and, in a few months, the entire process drove me crazy. Of course, they kept charging my credit card and were difficult to deal with when I complained. I wasn\u2019t alone. Thousands of loyal users suddenly found themselves in the same frustrating boat.<\/p>\n

So, I fired Adobe.<\/p>\n

Creative Licenses<\/h6>\n

The annual cost of an Adobe license is around $600. So that (or less) was my budget. My DuckDuckGo<\/a><\/span> search for \u2018creative cloud alternatives\u2019 turned out better than I expected. The apps I now use fall into two categories, 1) proprietary non-subscription (i.e., paid perpetual license), and 2) open source (i.e., free).<\/p>\n

1: Artful Digital Tools<\/h6>\n

\"Affinity-photo\"<\/a><\/p>\n

Affinity\u2019s<\/a><\/span> suite of tools includes Affinity Photo for raster\/pixel-based image editing, Affinity Designer for vector art creation, and Affinity Publisher for digital page layout. All three applications were architected simultaneously and designed to work together from the start. With lots of similar keyboard shortcuts and an easier workflow, I’ve grown to appreciate these apps. Affinity\u2019s parent company Serif competed with Adobe for years, but finally built a set of tools comprehensive enough to take on most tasks. Each application costs around $50 for a perpetual license, but the apps go on sale a couple of times a year with discounts of up to 50%. Updates release about two to three times a year.<\/p>\n

2: Video Editing<\/h6>\n

\"davinci<\/a><\/strong><\/p>\n

Background<\/strong>: (IMHO) Adobe Premiere never worked well. Every release outstripped the capabilities of all but the most powerful computers. It was saved from ignominy by Apple\u2019s bone-headed handling of its Final Cut Pro transition[1]<\/a><\/sup>. Premiere enjoys a halo effect from Adobe\u2019s other tools and is included in the general subscription. It\u2019s a bit like watching Fox News because it\u2019s bundled with your cable plan.<\/p>\n

Today I use Davinci Resolve<\/a><\/span> by Blackmagicdesign<\/a> (BMD). I looked at dozens of alternatives, free and paid, before I bumped into it. Resolve started as, and remains, Hollywood\u2019s standard for professional color grading. Over the years it developed editing capabilities and BMD acquired Fusion for digital compositing, and Fairlight audio tools. It bundled them all together into the current application.<\/p>\n

I don\u2019t know what kind of stimulants they\u2019re giving their software engineers, but Resolve is a powerful, professional editing suite that costs $0. Nada. Zip. (You can upgrade to the Studio version for $299 which buys you a few additional features that support things like team editing.) The tools are simply incredible and the free version entirely capable of producing a Hollywood movie. For the past couple of years BMD\u2019s software engineers have regularly embarrassed Adobe and gathered hundreds of thousands of new users to boot.<\/p>\n

3: Photo Management<\/h6>\n

Background<\/strong>: The one application I missed most was Adobe Lightroom. It did a great job of managing my photos and has a cadre of useful editing tools. That said, darktable<\/a> <\/span>has most of the functionality of Lightroom and comes closest in usability. This free application isn\u2019t perfect, but it\u2019s probably one of the best open source arty applications of any kind right now. I can tag images, edit, sort, and export them in a wide variety of formats.<\/p>\n

4: PDF Management<\/strong><\/h6>\n

Almost all of Aleta\u2019s manuals are digital. We even scanned her original manual into a large Portable Document Format (PDF) file. That makes it easy to find things. It also allows us to access ship\u2019s systems information anytime, anywhere. We keep all our documents in the cloud with backups on our phones, iPads, and computers. That reduces paper, but means I need a functional PDF editor. There are many to choose from now that PDFs are an open standard. Most of the Adobe alternatives require subscriptions or an internet connection, so I opted for the best-reviewed and most idiotically named software package available: Foxit Phantom PDF<\/a><\/span>. It has nothing to do with ghosts, or foxes, and sounds like malware. Marketing issues aside, I\u2019m pleased with its functionality. Cost: $129.<\/p>\n

Final Reckoning<\/h6>\n

Affinity Suite: $120
\nDavinci Resolve: $0
\ndarktable: $0
\nFoxit Phantom PDF: $129
\nTotal: $229<\/u>
\nSavings: $371 in the first year, $600 from year 2 onwards<\/p>\n

Conclusion<\/h6>\n

Changing business models is a hard decision and inevitably not all of your customers will follow. Kicking paying customers in the gonads because they don\u2019t have broadband access is harder to accept. Having found worthy alternatives, the question is, would I go back to Adobe if I were permanently moored? No. Certainly not for video editing. Davinci Resolve is vastly superior software which meets my needs. That makes the rest of the Creative Cloud expensive. Money that can be directed more productively into other projects.<\/p>\n

\n

[1]<\/a> Apple was becoming a de facto standard in Hollywood alongside big names like Avid. Walter Murch<\/a> (Apocalypse Now) edited Cold Mountain on Apple G4s with Final Cut Pro. But Apple decided to completely rework FCP<\/a> and pissed off almost every user in the world. Adobe lumbered along and picked up many of the pieces, but not to anyone\u2019s great joy.<\/p>\n","protected":false},"excerpt":{"rendered":"

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