My personal path at the moment is that I'm using Adobe's product, Adobe Premiere. I don't feel comfortable using Final Cut X, partly because I was so emotionally bruised by the experience. It was as if I was – again, the piano metaphor – as if I was playing the piano, and somebody came down and closed the fallboard on my hands as I was playing it, because not only did they introduce Final Cut X, but they took away support for Final Cut 7.

So they simultaneously zombified abandonware Final Cut 7, which was no longer... It was just a piece of floating software that you could use it, but it wasn't being maintained or brought up to date to any new things. And they pointed you in the direction of this other software, which I felt was like saying, 'We're disconnecting the plumbing to the house you have been living in, and there's a nice house over there', and I looked at it and I said, 'Yes, but it... I don't see any roof on that house yet.' 'We'll get there. You'll love it.'

So my response at the moment is to be using Adobe Premiere. And I'm new to it. I've been using it for the last year or so. Still, every day, learning new things about it, which you would expect. I mean, in fact, I was learning new things about Final Cut even after using it for seven, eight years. The good thing about Premiere so far for me, other than the fact that it's a very pleasant environment –  I like the feel of the keys, so to speak – is that there's a good relationship between myself and other editors, and the people who are running the software at the corporate level, and the engineers who do the actual code writing. And they encourage filmmakers to say, 'It would be good if you did this and that, the other thing.' And so they're listening... We feel that they're listening to us, and actually implementing suggestions that we make.

And the turnaround for their software is that they certainly issue new updates, major updates every six months, maybe every four months during the year, so maybe two or three times a year, rather than our previous experience, which is you have to wait probably a year and a half or two years between major rewrites of the program. So there's a quick turnover. And we feel, I think correctly, that we're being listened to. And so far, that's a very good sign. At least it's very healthy, I think, that now we have three options to choose from. Ironically, they all begin with A. There's Avid, Apple, or Adobe. And you, as an editor, you can choose which piano, so to speak, you want to use, depending on your own preferences and the needs of the particular project that you're working on.

It means that you, to really be effective in that environment, you have to know how to play each of these things, so it's more work, and keeping on top of all the changes. But that... Again, that's the environment that we're in, is very changeable at the moment, and probably for the next, certainly, the next five years, which is about as long as we can see into the future at the moment.