Steeldestroyer:

By professional editor, I mean anyone who intends to earn most if not all of their money as an editor. I know there are part time editors whose main source of income comes from a different career direction, and some who just do it as a hobby for family and friend's affairs, and so forth.

I'm not implying that this price structure is suitable in regard to attempting to compete with the lower end of the NLE market. It seems that Avid is growing less and less interested in that niche. I merely point out a trend in pricing - down, down, and down. So it's logical to surmise that based on their recent history, Avid's pricing will continue it's downward trend. In regards to what I would pay for a computer or any other piece of hardware, I look at the purchase in terms of what gives me the best bang for the buck, as well as stability and reliability that allows me to amortize my original investment over time. If I believe it's worth the money and will stand the test of time, I buy it.  

I think there are too many 'poor' editors who are trying to dictate Avid's pricing.

Those 'editors' need to focus on getting wealthy rather than demanding prices come down to a level they can afford.

I see the same mentality on the video camera forums a race for more pixels but at prices they can afford with a nothing is good enough unless it is at least a 4k Red Camera.

Meanwhile the big multi Billion $ media companies often use old kit to churn out shows for big $

TCurren:

Avid cuts their prices by at least 50 percent and you say that will accelerate folks leaving the platform?

There you go, purposely missing the point again.  We are talking about DX HARDWARE  NOT SOFTWARE!  The DX hardware pricing flies in the face of the much more sane and competitive software pricing, and in the process sends a very mixed message about Avid's true marketing intent.

wmcole:

The DX hardware pricing flies in the face of the much more sane and competitive software pricing, and in the process sends a very mixed message about Avid's true marketing intent.

Unfortunately, I have to agree with this. Avid lowers the price of Media Composer software from $5,000 to $2,500 and simultaneously raises the price of the Mojo from $2,500 to $7,500 just to give you HD/SDI in/out and HDMI interface for realtime HD monitoring - and no analog - at all. It's like robbing Peter to pay Paul, and it sends a very mixed message to users in general.

Larry Rubin:

$5,000 to $2,500 and simultaneously raises the price of the Mojo from $2,500 to $7,500

I strongly agree with this also. The software price is not in question here. I think the price for the software is good where its at. But The HARDWARE is just priced way to high.

 Don't get me wrong, I think the drop in software pricing is a tremendous move by Avid to make the program more affordable. But the extremely poor timing of the rise in the Mojo price to coincide with the announced software reduction went virtually unrecognized as a huge monkey wrench in the marketing machine. Ergo, the justifiable clamour for the support of 3rd party hardware. Avid's insistence on continuing proprietary hardware is shooting themselves in the foot in today's open architecture world. And it's increasingly clear that many users are just plain fed up with it.

Larry Rubin:

Avid's insistence on continuing proprietary hardware is shooting themselves in the foot in today's open architecture world.

Too easy to forget that DNA gave non delayed audio and video out of FW when every other FW  solution had a 2 second delay.  How? Proprietary hardware.

5 or 6 streams of realtime HD out of the DX box for the professional editor who has not got all day to render or needs the client to see the effects realtime etc  How? Proprietary hardware.

Why does proprietary hardware costs more than less capable generic solutions. Simple it has a much smaller market (Avid owners only)

Please do not ask for a great hardware software package to be dumbed down to match the software price of Apples giveaway price and the hardware price slashed to match a generic Io box.

Sad fact of life is that if a potential new Avid user cannot see the value in the hardware software solution at present pricing then it is not for them. Happily for them there are plenty of other options available out there.

wmcole:

The DX hardware pricing flies in the face of the much more sane and competitive software pricing, and in the process sends a very mixed message about Avid's true marketing intent.

'The HARDWARE is just priced way to high'

Those HDSDI / SDI connections on the back have to be connected to a HDCAM deck costing $50,000+ to be of any real use, is that not a problem for people who moan about the cost a Nitris box?

Other solutions if you cannot afford it

1. Rent it add 10% and bill the client

2. lease it

3 Go work for someone else, get payed and save up the money!

AndrewAction:

There never was a HD IO with HD monitoring Mojo combined with MC's range of useable formats to price compare with.

Yeah, but (and I don't mean to sound cliche with this but..) isn't HD in many ways the SD equivalent of today?  At least in terms of whats going on with the industry and product offerings of others.. not only with competing capture and monitor cards but also most well-known NLEs, professional, prosumer and even consumer cameras, TVs, Internet video, digitally captured budget HD cinema, and to a small (but surely growing) extent digital HD television broadcasts and Blu-Ray.  So its understandible that in the past there was no Mojo with HD IO, but if we look at the hardware pricing (and I think noones complaining about MC's software price or added value over other software offerings) it seems that in a fair share of people's perceptions either Mojo DX is significantly too expensive compared to whats out there OR (if there is some hidden value within the Mojo DX hardware itself that seriously makes it more than an I/O card in its own right) a product offering equivalent to a basic HD monitoring and preferably capturing card is currently just missing.

NICKB:

Those HDSDI / SDI connections on the back have to be connected to a HDCAM deck costing $50,000+ to be of any real use, is that not a problem for people who moan about the cost a Nitris box?

I agree that the Mojo DX leaves an awful lot to be desired and is, in my opinion, way overpriced. But nobody's forcing me to buy it. The Nitris box, on the other hand, is one sweet piece of equipment. Nobody's forcing me to buy the Nitris either - but I'm getting two of 'em. If you haven't seen this thing in action, do yourself a favor and arrange for a demo. If you do lots of work on a consistant basis, the sheer speed will blow you away. As has been mentioned in this thread and others, the time you save will pay for the Nitris very quickly. I'm not positive - I'll cross this bridge when I come to it -  but I don't anticipate having to output to HDCAM or D5. Even so, the speed and flexibility - especially with the Symphony software - makes this a no brainer for me.

Just in case people don't know - HDMI includes SD signal (480i, 480p, etc). So you can plug your Mojo DX to your Dell LCD.

Dom Q. Silverio:

Just in case people don't know - HDMI includes SD signal (480i, 480p, etc). So you can plug your Mojo DX to your Dell LCD.

I think this illustrate the discussion totaly. Lots of editors do not use professional, or even proper, equipments. (Dom, I know You are a professional and this is not an attack on You. I have a great respect for You and Your knowlage and I have learn lots from Your comments in this forum. I know You are using proper tools.).

E.g. a standard tripod costs about €4000. But for a smaller camcorder, You can got away with €2500. I do not think any professional will by a Velbon tripod for €250 at the nearby supermarket.

An HD monitor costs more than €3000 and lots of experts will not rate this as proper for color corrections, not to talk about a computer monitor.

A pair of proper monitors cost more than €1000 and You have to add some €600 for subwoffers. No professional will mix the sound on a €25 computer speakers.

A HDV-VTR cost more than €5000 if You want proper analog outputs. The camera solutions for less has not high quality analoge components.

In this perspective, €7700 for Media Composer DX Mojo is not to expensive. It is just two times the price we paid for AXP and the original Mojo. If the signs is rigth, DX Mojo is exact the same as DX Nitris minus some i/o ports, which I do not need, and a DNxHD hardware codec, I think it will be a success.

For our use today, DX Mojo has more features than we need. We need some way to output a proper digital broadcast signal for monitoring, and occasional for transfer to tape, but i do not think this demand is growing. In this case, DX Mojo is a bit expensive, but that is just compare to our needs there it is overkill.

In a situation there I think I need more than one DX Nitris, and often get HDCAM as input, I think one DX Nitris for handling the inputs from HDCAMS and several DX Mojo for editing is a cost effective solution.

DX Mojo is also cost effective for small producers (not the size of the producer, but the size of their business) who use different SD and HD formats in the productions. They often do not use HDCAM in the amout it requiers the hardware codec.

Quality costs, even the largerst car maker in the world (Toyota) can not sell their high quality cars chaper than low quality European cars. Price is not just a question of scale, it is also a question of quality.

Reading what they who have use the new DX-serie, I can not resist to make a comparison to cars. Most of us like the "clonk" then we close the doors on a premium car. I got a fealing that this is the same with premium NLE-systems, You must listen to the "clonk" before You understand the advantage of them.

Hi Berga

Yea I was just pointing out to people (aka those who needs low cost monitoring solution for their Mojo DX) that your newer standard PC 24" LCD monitor will give you HD monitoring. You wont need a Sony BVM CRT with HD-SDI.

 Hi Dom,

I think hooking up a computer monitor to DX-Mojo is something like through pearls to the pigs. For this type of monitoring, Avid need some cheap solution.

I think of Sony LMD production monitors or Panys BT-LH montiors as minimum if You want give DX-Mojo a chance to show what it can do.

 I'm still wondering where are the screenshots. I like the head with the strange eyes, but what's with the fuzzy long shots? Give us some GUI, a full featured list, something. I mean I'm sure people had already seen it in the Avid conventions. Except for some minor icon change is it any different? Since it's barely a month away from release I'm sure the product is ready to show to the actual public.