[Petros Kolyvas]

As far as I can tell an individual account is $70/month per user for us. All three seats are Volume License seats in our shop and I don’t know how the system works if we can convert volume licenses back to individual (non-team) cloud memberships. All our licensing is done through Adobe’s LWS system.

While it seems that Adobe will let us define a user as a workstation, that’s not the language they’re using, since they don’t say “per seat” but rather “Per User” for teams and I can’t seem to find an answer as to what they consider per user. Can all users of a workstation use the applications licensed to a single user, because it’s not at all clear and I’ve read quite a lot of the Cloud for Teams FAQs and question sheets.

And even at a discounted, non-teams price of $30/month, that’s more than we pay now per seat AND if we decide not to upgrade we can still use the software.

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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

And as I mentioned on another thread it’s even worse for small business where a perpetual license would be available to all users of a given machine. As it stands now, it seems Adobe wants $70/month per user of the cloud on a yearly basis (that’s $840 US/year per user, where we pay $350/year if we upgrade every year, per seat.) This could triple or quadruple our monthly service costs and would be wholly unacceptable, in part because it would be a clear cash grab. Sure, companies can charge whatever they want; doesn’t mean we have to buy their products. Once we’re paying $840/year a user, a number of options start to look a whole lot prettier.

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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

I’m with you Tom, I hope I’m proved wrong.

Adobe only needs to look at how large portions of the editing community regard Avid’s business practices (I’m not talking about their product) to realise that no matter how much your product is used or liked, you will force away a certain number of users and foster a ill-will that is hard to undo.

And, thankfully with Blender slowly becoming an amazing compositing tool and a Linux version of Lightworks right around the corner (we prepped a copy of 64-bit Ubuntu on a Mac Pro to try it out), FCPX at least fighting to stay relevant, and a growing number of other options, Adobe needs to be careful, despite the stellar features showcased in the upcoming versions of PrPro and AE.

Apple proved that just because you own a certain market, doesn’t mean a misstep won’t have your market turn some of its back on you and find something new pretty quickly. And those of us who feel that our experience and skill of editing transcends the tool aren’t really afraid of change anyway since cut/trim/roll/slip etc are features I need the most and lots of NLE software has. 😉

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

[Michael Hendrix] “Tom, I can see your point, however, when you think about the price, at $50 a month, it would take 3 years to catch up to the price of the production suite. In those three years, you could go through 3 versions of upgrades. Not to mention the fact that you are getting the Master Collection at that price which I think would take another year.

I am of the mindset that if everyone were on the subscription, why would Adobe have to wait for a specific, timed release of a new version. They wouldn’t make anymore money on it because they would have everyone’s monthly subscription fees.”

Unfortunately this math only applies to those who work in single-user shops and don’t have existing software.

Here’s our issue with the cloud:

We’re a small shop, 3 workstations/edit bays, many users depending on who’s working on what project. We have two copies of CS^ Production Premium and 1 copy of the CS6 Master Collection. We’ve been upgrading since CS3 in most cases. That means we already have an investment in the software and in the twelve or so months that have elapse since the release of CS6 the averaged-out monthly cost of a CS6 SEAT (note – not USER) is about $29. The Master Collection seat is in the ballpark of $45.

Adobe wants us to pay $70 PER USER (with a one-year commitment per user) for a business creative cloud membership and doesn’t take into account sunk costs in the software. Since one edit bay may have three different users at any one time, some on a project for a month, some for a year, etc. the cloud model is still too inflexible for us and I imagine the issues only get worse the bigger the team. If I had to foot a $210/month bill for three users on a single machine, I’d turn my back on Adobe pretty quickly.

Thankfully I still can buy the perpetual license.

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

Also, before the demise of FCP 7 I had asked Apple frequently for an “un-nest” option for clips (to basically expand them all back to their original state within the current timeline.)

Adobe should consider the same.

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

One of the many things I wish PrPro did like AE is that when you click on a Pre-Comp in AE (consider it a nested comp here) we go to the exact same timeline location as the currently viewed frame within the pre-comp and it would behoove Adobe to get the timeline to behave the same way in premiere (when you want to move to a nested sequence and not simply load it in the source monitor).

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There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

What about using Lift?

Make a copy of your Selects (as a backup). Then you can mark in the In and Out on the selects and lift (FCP was an apostrophe I believe and I’ve been using a similar workflow to what I used in FCP). Paste into the new sequence.

Now, this method gives you an added benefit that when you look back at your Selects parts will be missing and therefore no risk of using the same shot twice by accident and/or having a record of what you used (while having that backup Sequence tucked away in case anything goes haywire!)

Is that a reasonable solution? I use selects a lot with clients and depending on the workflow required for a given project this works well for me.

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

I don’t know the soundoap plugin set, but Adobe’s focus seems to be on 64-bit VST almost exclusively (though AU plugins work in Audition).

If the VST plugins installed by Soundsoap are 32bit you’re out of luck in Premiere. For Audition however, you can at least figure out whats going on by going to the Effects Menu and opening the Audio Plug-In Manager. “Scan for Plugins” should get you started and, at the very least you’ll see if a plugin is detected and/or working – even if other more detailed info isn’t provided.

Hope you find the answer you’re looking for!

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

i wonder if you’re having the same issue that I had. (https://forums.creativecow.net/thread/3/936325)

Did you use any audio filter effects (and then maybe update the plugins?)

I had an issue where all project files (autosaves, previous and alternate versions, etc.) were all listed as corrupt or “an error occurred”

I opened then on another workstation here that doesn’t have any audio plugins and it it worked fine. I stripped out all the audio plugins from each sequence and it would then open on the original workstation.

I wonder if this issue extends to any other plugins/utilities.

Premiere definitely needs a little more gracious error handling!

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger

[Petros Kolyvas]

Just a quick follow-up… I don’t have any other VST-ready hosts since PT9 is RTAS and Logic is AU-only.

I downloaded Reaper 64-bit to check and they all load fine using the iLok authentication and none open in Demo mode (which is what happens without the iLok inserted.)

The other odd thing is the even the AU versions of the iZotope plugs are listed as “Not Working” in the plugin manager.

*So stumped.*

—
There is no intuitive interface, not even the nipple. It’s all learned. – Bruce Ediger