muroshi wrote:


It's interesting that you cherry picked among my replies so you would have something to reply to, but I am the one running out of arguments?
The solution for you is easy, son. Go to avid.com and drop $2,499 o Media Composer and leave us alone. You have absolutely no base to understand any of what you are trying to argue and I actually even doubt you are a professional editor.

muroshi wrote:


Seemingly this is the argument for the sake of the argument.

People seem to be setting up the Lightworks interface in a number of different ways to suit themselves. You can pin the windows in place, regardless of doing that they tend to stay where you left them.

If you want to learn, experiment and make mistakes with the program. It's a lot easier to learn just by playing with Lightworks than Photoshop. If your brain doesn't engage with Lightworks, there are a number of other NLE's which work in different ways. Perhaps Lightworks is even more non linear than the other NLE's, but they all use the keyboard and mouse to some degree.

muroshi wrote:


You need to arrange your interface ONCE and it will be there on the same place anytime you come back to the project. If you are the type who need to be told what and how to work, suit yourself. I like having the flexibility to re-arrange my interface according the project I'm working on.

briandrys wrote:


Well, I don't have to proof you that the console is a rip-off. It's quite evident, so I just debunk LWs invalid arguments.



Noticed that, but it seems that there is missing a magnitude to join those windows at the borders.

Why is the cut-button called "delete"? The missing of a fill gap option looks a bit cumbersome to me, also this join-button he talks about:

Lightworks doesn't use "sticky" windows.

The "Delete" button is called "Delete" because if you mark+park a selection and hit the "Delete" button it will delete that selection from the timeline.

muroshi wrote:


The only way that this particular console cam be proven to be a rip off is if you've got the financial figures for its design, manufacture and marketing costs. If the market proves to be larger than the specialist professional editor market that it's currently being used in, you might be able to mass produce them, but I suspect these things are currently hand made with small production runs.

If the market is larger than Editshare suspects, they might be able to reduce the unit manufacturing costs. However, in the world of professional film & TV equipment the cost of the console isn't unusual, a matte box for a camera can cost a lot more than this console. It's not domestic gear, it's industrial equipment. The same applies if you buy an industrial grade power tool.

Even so, a cheaper version may or may not prove to be profitable, just because you sell more doesn't mean its profitable. Very possibly a cheaper controller would need to be able to operate various electronic devices in order to increase its market.