[Jon Hiseman]

No, if you have downloaded and installed the CS6 versions of the applications, you will continue to have access to them without interruption as long as your membership remains active. When the next full version of CS becomes available, you will have up to a year to download and install them, and they will run on your computer along with CS6 versions.

That does sound OK, but what about past installers, if I have to reinstall all my apps (which historically I have always had to do at least every couple of years.) We will need the installers for years of legacy versions available as time passes.

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

I’m a subscriber to Adobe Cloud and loving it – BUT I’m faced with a dilemma. I’m always having to go back and open projects from several years before – I know thats been an issue for Walter. When Adobe has upgraded PPro and AE several times will they still open projects 5 years+ old? What do I do if they don’t. Do I have to enjoy 7 till it becomes 8 and then buy 7 for archive, enjoy 8 and then buy it as the news for 9 breaks?
This is creative work we’re talking. How does Adobe see this problem?

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

If I use Edit in Audition, Create AE Comp, or Edit Original, WITHOUT having the relevant app already open in the background and with a project waiting, Premier Pro will crash. But the app I’m trying to use will sit there open and laughing at me. Simple and repeatable 100%. Mac Pro 3,1 or 5,1 – 48Gbs Ram GTX 285 or 580. Reinstalled all software twice on new drives. All latest versions from Abobe Cloud. I thought it was a bug peculiar to my set up since I have never seen it reported before.
In my experience only Photoshop and Media Manager will boot from a PPro request.

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

My GTX580 has 2 x 8 pin power sockets and 1 x 6 pin. I bought it from Macvidcards in LA. It has been reprogrammed with a special EFI ROM to work with the mac pro.

Just an afterthought – This card is not recognised by Pro/AE unless you add it to the supported cards list.

To Add a Card for Premier Pro and AE right click the App and select show package contents.
Modify Contents/cuda_supported_cards.txt for Premier Pro and raytracer_supported_cards.txt for AE

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

I have this unit running on a 5,1 Mac Pro. I wonder if your problem is that it won’t run with a 2,1 Mac Pro but I don’t know. However, assuming it will, I use a Coolermaster 850w external PC power supply. The card needs three power connectors and draws 650w at full tilt This is twice what the current Mac Pros can supply. In addition, all external power supplies designed for PCs need their power supplies ‘turned on’ by the PC even after you are supplying mains power. This involves shorting out two pins on the Motherboard socket hanging out of the PS (which of course you would not plug into anything). There is a floating plug you can purchase which will do this – it’s used for testing P. Supplies out of the PC and sold as such. So having connected this plug you power up the supply and then power up the Mac – works a treat. PPro & AE run like magic as long as you have lots of Ram – I use 48Gbs.
I hope this helps.

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

Craig Ricker wrote:
Out of curiosity what is Fermi support? I have a EVGA FTW GTX 660 in my Mac Pro 5,1.

Quoted from Nvidia’s Geforce site:
https://www.geforce.co.uk/hardware/desktop-gpus/geforce-gtx-570/architecture

The Fermi Architecture
The GeForce GTX 400/500 family of GPUs is based on NVIDIA’s Fermi architecture—the most significant leap in GPU architecture since theoriginal G80. G80 was our initial vision of what a unified graphics and compute processor should look like. GT200 extended the performance and functionality of G80. With Fermi, we have taken all we have learned from the two prior processors, analyzed the various applicationsthat were written for them, and developed a completely new architecture optimized for next generation games and applications.
Parallel Tessellation Engines
Traditional GPU designs use a single geometry engine to perform tessellation. This approach is analogous to early GPU designs which used a single pixel pipeline to perform pixel shading. Having observed how pixel pipelines grew from a single unit to many parallel units and its subsequent impact on 3D realism, we designed our tessellation architecture to be parallel from day one.
Fermi GPUs implement up to sixteen parallel tessellation units, each with its own dedicated shading resources. Up to four parallel Raster Engines transform newly tessellated triangles into a fine stream of pixels for shading. The close coupling for tessellation, rasterization, and shading units provides enormous on-chip bandwidth and high execution efficiency. The result is a breakthrough in tessellation performance at up to two billion triangles per second. Compared to competing products, Fermi GPUs are up to 8x faster as measured by independent reviews using Microsoft’s DirectX 11 software development kit.

Good Luck Studio!

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

I have a GTX 580/512 CUDA cores  running at 5.0 GT/s with next-generation Fermi support in a Mac Pro 5,1. I no longer wait for anything when using Prores 422 1080p25 as my sequence codec with playback as I-Frame Only MPEG. Rendering out for Da Vinci using the sequence codec is more than twice realtime with simple transition effects.

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

“Jon, can you not do all of this is Prelude and skip having to do the Media Manager?”

Yes you can and , as you point out, do the transcode in one go, but because I do lots of alternate takes I like to see the footage up close and personal – I hate scrubbing about in Prelude’s ingest manager.- I just can’t move my trackball slow enough to see all the detail on a long clip. Also I only archive the original footage I have selected and copied via PPros Project manager. Cuts down on archive space and preserves the original cam format – probably stupid on my part but….

I’ll have to investigate whether there is a shortcut in Prelude to place any selected media preview window fullscreen on a second display. That’s where I have my PPro source or program windows depending on what I’m doing.

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

This is my workflow to take care of the same issues. I only work in Prores for all the advantages you mentioned. If I have a lot of footage I open up a PPro project and import all the native cam media.
I then throw what I might want onto the timeline to the nearest minute.
The worlds roughest cut.
Then, Menu/Project/Project Manager
Check:
Create new trimmed project
Exclude unused clips
Include handles up to 100 frames if you wish
Rename Media Files to Match Clip Names – if you have put some descriptive info on the clip names
Choose the location and create a new folder
You can even calculate the folder size in advance.
Then, when your new project and clip have been created, batch throw them at Media Encoder to convert to the Prores flavor of your choice.
Media encoder seems very fast on my 12-core Mac Pro but you can always leave it overnight.
I hope this helps

I used to be Jon Hiseman but I’m feeling better now.

[Jon Hiseman]

Thanks Alex – I usually render as a workaround but didn’t know the proxy trick.

I used to be Jon Hiseman but I’m feeling better now.