You’ve misunderstood. There are certain features that will only work with GPU on the studio version eg. some H264/H265 formats do not use GPU when decoding, but overall it will use the GPU.

That dummy plug will only fake an EDID signal to the device that there’s something plugged in it when there really isn’t and has nothing to do with this issue.

Premiere will not automatically change the speed without user interpretation. If you edit 50 fps footage in a 25fps timeline Premiere will only play every other frame. If you would edit 25 fps footage in a 50 fps timeline it would show every frame twice. 100 fps footage would show every fourth frame in a 25 fps sequence.

When you interpret footage…

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If your exported file is bigger, then your exported format/codec is using a bigger bit rate than the original file. If you want a smaller file then set a lower bit rate.

Check your project settings that you don’t have any ingest settings on.

If that doesn’t work you’ll need to work in a timeline that has a supported resolution/framerate that the I/O device can output and what the monitor supports. Resolve is nicer in this regard because you can have a separate monitoring resolution from the timeline.

There is a setting where you can scale the output signal either up or down in the playback settings in Premiere.

Portable Glyph Atom SSD RAID drives are nice.

As you have a bunch of compressed formats you’ll need faster processing and you probably aren’t bottlenecked by the storage speed. I would probably transcode everything to Prores before editing.

I’ve heard other people have problems with connecting straight to Qnap servers with thunderbolt. Apparently it is some tb-over ethernet kind of thing.

I’d try using the 10 gig ethernet ports instead.

AE doesn’t really care for DPI. It only cares for the actual pixel by pixel information and the usual DPI setting for monitor display use is 72. So what would be the actual resolution if you change your image to 72 DPI?

Screenshots? Project settings? Format? Resolution? Export settings? Resolve studio or free?

My crystal ball is pretty hazy at the moment.

Well my post was from 4 years ago and the manual has changed since then. Color Management is chapter 9 starting from page 186 in the latest manual.

Use the venetian blinds transition.

Where are you delivering it to? If it is a video platform, use their specs. If it is a theater, make a DCP or ask for specs. If it’s something else then ask for specs.

I can’t see anything strange in this one.

Instead of necroing a 15 year old thread that has nothing to do with your question you could have made a new thread about this topic.

Precomps: you can either duplicate or (usually) route the same output from a node tree to different places.

Expressions: there’s a bunch of them in Fusion.

That said: if you have everything you need in AE then why…

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Looks like compression artifacts that happen especially in the dark parts of the image where there’s not much information in the first place. There are a couple of things you could try.

1. Add a little grain/noise. Probably won’t help if you have really dark footage.

2. Export to an intermediate format (like Prores) and transcode it in Handbrake or…

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What kind of project are you trying to open and how much RAM do you have?

What format is the export and what program are you watching it with?

Have you updated AE along with Premiere? All of those programs should be around the same release versions for the programs to see each other.

You need to ask the delivery specifications for that playback system.

You could use the logo and the title as track mattes.

https://www.schoolofmotion.com/blog/how-to-use-track-mattes-after-effects

If you want to export the timeline for vertical viewing, set your project preferences to the output resolution you want eg. 1080×1920.

It looks like they have a talented DP and a good colorist and I would assume they just didn’t slap some LUT on it and call it a day.

You could try the Fnordware Webm plugin.

Edit: Oh wait it’s for Premiere and AME. I don’t remember how the licensing went in CS6, but the video production specific bundles would’ve had AME.

I work mostly in professional workflows where the number one rule is: DO NOT RENAME CAMERA ORIGINALS.

There is an exception if the camera doesn’t name the files in a unique way where it will become a problem during online conforming.

If I had so much stuff I’d need to put them in some DAM software I would just add keywords in there instead of…

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Have you tried trashing the preferences?

CS6 doesn’t have prores on Windows.

You can use the project manager to collect your files to a new location.

The CUDA acceleration back then was limited to a few cards, but could be hacked on for some cards that had enough VRAM and cores. I don’t doubt that it showed up, but I kinda doubt it did much because CS6 is quite limited what it actually did with the GPU. Even with a supported card there were a bunch of issues so one would use software rendering…

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CS6 is 10 years old. It doesn’t know how to use newer GPUs and newer GPUs don’t know how to use old software and there has been a lot of optimization in 10 years. Also if you have any effects or you have the maximum quality tab on (you won’t need that unless you do scaling) the render will slow down more.

With CC hardware acceleration and a fairly…

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Buy Particular or Stardust or some other advanced particle plugin.

This is probably the weird bug that you’ll need pick none for your audio input device because there might be some default audio device there after some update.

I am not responsible for your exports, can’t comment on footage I haven’t seen and you would still need to test the best settings for your particular needs. It should be easy enough to export a few minutes from the start and see if the keyframe settings have any bigger effect on the animation.

You haven’t mentioned anything about your computer. CS6…

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Test some settings and see how it looks.

There’s no need to do 2 pass encoding because as there’s really nothing to improve with the second pass because it’s mostly a still image. Also you didn’t mention it but turn off maximum render quality if you have it on. You should also add a value to the keyframe field though because you don’t need to encode and write every frame (or have the…

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I would start with the delivery specs.

Where is this file going to be played and in what format`?

If it’s some looping stadium thing you might not need to make that big of a sequence in the first place.

What are your EXACT export settings?

Exporting something in 4:4:4 chroma subsampling will not bring back/or hold any color information that was already lost in the 4:2:2 sampled file.

This exchange was only possible for some time back in the day when they rolled out the digital license. It is not possible anymore.

The old dongles work with the latest versions. They’ve now added a serial number version that doesn’t need a dongle and it can be activated over the internet on two different computers.

You don’t need to put in any registration information when downloading the studio version if you don’t want to. There’s a “download only” link on the bottom of the form.

Never give out the project file unless otherwise noted in a contract. Also in this case the project file should cost a lot of extra because it will mean less money for you if someone else is making versions of that.

Those files you got have nothing to do with the instructions you’ve been given. They do not have a black & white or an RGB matte nor an alpha channel. They are just video files of a crash zoom transition (that you can easily make yourself in Premiere fyi)

So if that is what you really got then this is pretty shady.

Those aren’t transitions. They are just two video files and the pdf show’s how you can use mattes as revealing transitions.

Also I can’t find anything about that company on Google so you might’ve gotten scammed.

Put the different plates on top of each other on the timeline and use a linear wipe transition.

MXF is not a codec, but a container. It can have all kinds of stuff in it.

Try turning off hardware accelerated encoding in Preferences – Media.

Or render the whole sequence in a high quality format and use the preview files when exporting.

Looks like you’re reading and/or writing from a failed/failing spot on a hard drive.

I would use software that’s not 14 years old, like for example Resolve. CS3 is absolutely ancient in every way.

It’s not a PC or Mac thing. It’s an “a lot of systems/codecs/formats/encoders do not like odd numbers in resolutions and they might pad it with something or straight up not work at all so one really shouldn’t use odd resolution values”-thing.