All Adobe Software not using Cuda on Sierra and High Sierra

[Oliver Peters]

[Brent Marginet] “Cuda works on one of my two identical Mac Book Pros with High Sierra but not the other one.”

Yep. No luck on mine either. You can thank Apple. I’ve written CUDA off.

– Oliver

Oliver Peters – oliverpeters.com

[Brent Marginet]

Yeah and what’s even worse is Metal and OpenCL don’t work either.
No matter what I select AME 2018 always says Software only when encoding.

It may be time to think about abandoning Apple but I’m going to slit my throat if I have to use Windows.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Brent Marginet]

This is now not only starting to perplex me, its also starting to piss me off.

The one Laptop that Cuda, Metal and OpenCL works on gives me the same performance even if I choose “Software Only”. Im running tests with one particular file and it encodes it more than twice as fast as the other Mac Book Pro even with “Software Only”. There’s no difference in encode speed no matter what I choose and AME always says that “Hardware Acceleration” is being used even when I set it to “Software Only”. This makes no sense.

This is definitely an Adobe issue because Resolve is using Cuda, properly on all 8 of my systems but not Adobe.

We really need Adobe to step in and help us here.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”

[Jay Allen]

Brent,
I too am in the same boat as you. I left Sony Vegas a few years back because of the same lack of fixing problems.
I have been seeing the same issues creeping into adobe, more features but not enough fixes. I have found the only way to stay editing in premiere is to have multiple systems – 2 on mac, 1 on windows 7, 1 on windows 10. I only have 1 system that is on cc2018 and thank God for that. With all the problems that Adobe has now, it seems very similar to where i was in Sony Vegas. Moving to windows is not as bad as you would expect and I have had to edit a couple jobs this year in Sony Vegas simply because premiere would not load the files nor would Resolve, or FCP.
This is a very frustrating topic because there is not a clear “Best NLE” out there and it is getting very old to pay monthly for a product that kind of works!

[Brent Marginet]

The industry we work in is dominated almost 100% by ProRes Mastering, Archival and Deliverables.

We just finished a series that had Seven Deliverables per episode. This included both full texted and textless versions in UHD and one HD OP-1a. The texted and textless UHD Versions had to be delivered in either ProRes 4444HQ or XQ. Thankfully this was all done in Avid and Resolve. My point is that it’s just not feasible to create high bitrate 4444 DNxHR and then take it over to a Mac to convert it all to ProRes for two reasons. The shear size of the extra DNxHR outputs and extra conversion time would kill us, especially at the 11th hour. Seems like any production could have a 10 Year start on a project and it would still always come down to the wire. That’s more of the reason why I’d slit my throat if I had to use Windows than actually using Windows.

Once again we have Apple to thank for being GREEDY and holding back licensing of the ProRes Codec from Apps like Avid, Adobe, Resolve and so on. I’m really tired of there choke hold grip on the industry especially when even one else plays fair.

“MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN’T.”

[Brent Marginet]

The industry we work in is dominated almost 100% by ProRes Mastering, Archival and Deliverables.

We just finished a series that had Seven Deliverables per episode. This included both full texted and textless versions in UHD and one HD OP-1a. The texted and textless UHD Versions had to be delivered in either ProRes 4444HQ or XQ. Thankfully this was all done in Avid and Resolve. My point is that it’s just not feasible to create high bitrate 4444 DNxHR and then take it over to a Mac to convert it all to ProRes for two reasons. The shear size of the extra DNxHR outputs and extra conversion time would kill us, especially at the 11th hour. Seems like any production could have a 10 Year start on a project and it would still always come down to the wire. That’s more of the reason why I’d slit my throat if I had to use Windows than actually using Windows.

Once again we have Apple to thank for being GREEDY A-HOLES and holding back licensing of the ProRes Codec from Apps like Avid, Adobe, Resolve and so on. I’m really tired of there choke hold grip on the industry especially when even one else plays fair.

\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”