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Whats new in Adobe CS6 Production Premium? Im glad you asked!

Apr 11, 2012 9:39 PM

  Latest reply: Todd_Kopriva, May 6, 2012 6:40 PM
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  • Currently Being Moderated
    Apr 21, 2012 2:44 PM   in reply to srukweza

    Yes, using dynamic link in 5.5 does save a file from Premiere to Encore. It was easy for me to figure out the first time. In fact using dynamic link is the only way I've done it. Click send to Encore, choose file location, click build, insert DVD, done. Dynamic like has worked perfectly for AE, Audition and Encore. I suppose that I would like to know where all the files are when burning a DVD or BR so that I can delete them if I want to.

     

    I'm looking forward to using FPC 7 and Avid less and focus more time on Premiere and the rest of the creative suite. I'm picking up all kinds of tips and tricks here as well.

     
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    Apr 21, 2012 3:16 PM   in reply to Islanders66

    Another way is to exit Premiere after editing, then launch Encore, create a new project and save it in your preferred location. The Encore project directory also contains the Encore Project folder. If you delete the folder at anytime and try to launch Encore project, it will prompt for that folder and it won't launch. So it is ideal to delete after your client is fully satisfied with the DVD or BD.

     

    Premiere, After Effects and Encore also create media cache in the same folder, and this is one to watch as it can take huge space, depending on the number of projects you are working on in all applications. These are no hassle because if deleted, they can be recreated when the project is opened. Don't know if in CS6 the media conforming can be done in the background while you are working or have to wait.

     

    Adobe Dynamic link has always worked like a charm for me, coz I create animated Blu Ray motion menus and the text flying on the screen with SFX in AE compositions! I don't have to export these compositions and wait for the redering to complete. I will simply go into Encore and import AE compositions, then Premiere Pro Sequence with all the chapters set in PrPro, then blank main and sub menu and link everything within a couple of minutes. After that I am off to bed and Encore will create a 25GB BD image in under less than 5 hours on my HP workstation. With DVD it will take approximately the same time for a sequency up to 2hrs, coz I do not use MRQ as it is time consuming. Overall I get outstanding quality on the DVD, downscaled from AVCHD and HDV mixed sequence with extracted audio or automatic dialogue replacement files .

     

    AWESOME!!!

     
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    Apr 21, 2012 3:24 PM   in reply to lasvideo

    Can a beta tester please test something for me?

     

    Take some interlaced footage, either SD or HD, and export it as H.264 interlaced (not the Blu-Ray preset, just the normal H.264 preset, as the Blu-Ray preset actually works correctly in CS5.5).  Does the output look ok, or does it drop half the fields (like de-interlacing)?  If you look at round objects, it should be smooth, not jagged (like an aliasing artifact).

     

    Many thanks!

     
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    Apr 21, 2012 3:30 PM   in reply to taz291819

    taz291819 wrote:

     

    Can a beta tester please test something for me?

     

    Can someone explain how superior Adobe transmit work in CS6?

     
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    Apr 21, 2012 3:37 PM   in reply to srukweza

    Now that you can create a pop up menu for a DVD

     

    I'm a little confused about that.  As far as I know, the DVD spec doesn't allow for pup-ups.  Only Blu-ray can do that.

     
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    Apr 21, 2012 4:04 PM   in reply to Jim Simon

    Jim Simon wrote:

     

    I'm a little confused about that.  As far as I know, the DVD spec doesn't allow for pup-ups.  Only Blu-ray can do that.

     

    You could be right, or I misunderstood a statement I read about Encore 64bit. Does anyone know if Encore improved the subtitling options and the ability to see a wave file. I submitted a feature request on that but I am not pretty aware of all the gravy sweetening Encore!

     
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    Apr 21, 2012 5:15 PM   in reply to srukweza

    I thought you all were talking about Media Encoder! I haven't used Encore, yet. I was wondering how you were able to mix PrPro and AE to make your BR or DVD.

     

    Edit: I have been using Encore via Dynamic Link to make DVDs, although for some reason I thought it was Media Encoder, maybe because I've never opened Encore.

     
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    Apr 21, 2012 6:33 PM   in reply to srukweza

    srukweza wrote:

     

    Can someone explain how superior Adobe transmit work in CS6?

     

    Sure.  If you've used any 3rd party i/o solution with PPro in earlier releases, you'll know that each 3rd party had their own 'editing mode', and for any broadcast monitoring to work, you had to be using one of their editing modes.  There were several drawbacks from this - some things would perform worse in a 3rd party sequence whereas that wouldn't occur in native Adobe sequences, or the source/program monitor playback behaviour would be inconsistent, or you couldn't bounce those projects to another system without the hardware for editing; CUDA wouldn't work as well in 3rd party sequences, etc, etc.  Also, the older SDK model was a lot more complicated for the 3rd parties.

     

    In a nutshell, what we did was simplify everything tremendously in this release.  Now, you always use Adobe native sequences;  no 3rd party editing mode required.  Also, whatever you get on the program monitor is what you get out of Mercury Transmit;  if you're using CUDA (or OpenCL on the newly supported macs), you get all that realtime goodness reflected out through your i/o card too.  It's also a lot simpler for the 3rd party developers too, as the Transmit SDK is a much simpler model to support.

     

    The other cool thing is that it means that Adobe can support the same 3rd party transmit plugin in several apps.  I believe Prelude, PPro, and Encore already all support Transmit;  I'm not sure about AE or Audition at this present moment.  Todd might know on that front.

     

    Cheers

     
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    Apr 21, 2012 7:43 PM   in reply to Christian Jolly

    "Copying and pasting effects from one clip to others has been possible for quite some time (since Premiere Pro 1.0 I believe...about 9 years ago)"

     

    Sorry, I meant copying and pasting transitions, not plugins.

     
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    Apr 21, 2012 8:05 PM   in reply to Wil Renczes

    Wil Renczes wrote:

     

    srukweza wrote:

     

    Can someone explain how superior Adobe transmit work in CS6?

     

    Sure.  If you've used any 3rd party i/o solution with PPro in earlier releases, you'll know that each 3rd party had their own 'editing mode', and for any broadcast monitoring to work, you had to be using one of their editing modes.  There were several drawbacks from this - some things would perform worse in a 3rd party sequence whereas that wouldn't occur in native Adobe sequences, or the source/program monitor playback behaviour would be inconsistent, or you couldn't bounce those projects to another system without the hardware for editing; CUDA wouldn't work as well in 3rd party sequences, etc, etc.  Also, the older SDK model was a lot more complicated for the 3rd parties.

     

    In a nutshell, what we did was simplify everything tremendously in this release.  Now, you always use Adobe native sequences;  no 3rd party editing mode required.  Also, whatever you get on the program monitor is what you get out of Mercury Transmit;  if you're using CUDA (or OpenCL on the newly supported macs), you get all that realtime goodness reflected out through your i/o card too.  It's also a lot simpler for the 3rd party developers too, as the Transmit SDK is a much simpler model to support.

     

    The other cool thing is that it means that Adobe can support the same 3rd party transmit plugin in several apps.  I believe Prelude, PPro, and Encore already all support Transmit;  I'm not sure about AE or Audition at this present moment.  Todd might know on that front.

     

    Cheers

     

    That sounds cool! So does this means good news for Matrox, Blackmagic, Aja users?

     
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    Apr 21, 2012 8:29 PM   in reply to Islanders66

    Islanders66 wrote:

     

    I thought you all were talking about Media Encoder! I haven't used Encore, yet. I was wondering how you were able to mix PrPro and AE to make your BR or DVD.

     

    Edit: I have been using Encore via Dynamic Link to make DVDs, although for some reason I thought it was Media Encoder, maybe because I've never opened Encore.

     

    Encore is the powerhouse of DVD and BD creation for Adobe Premiere Pro. You can mix any footage in premire pro when editing. But when creating assets for use in Encore as BG menus, consider the maximum resolution allowed, as it may be required for downscaling.

     
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    Apr 21, 2012 10:07 PM   in reply to srukweza

    srukweza wrote:

     

    Encore is the powerhouse of DVD and BD creation for Adobe Premiere Pro. You can mix any footage in premire pro when editing. But when creating assets for use in Encore as BG menus, consider the maximum resolution allowed, as it may be required for downscaling.

     

    Thanks! I'll keep that in mind when researching Encore.

     

    The more I look into SpeedGrade the more I think I'll be upgrading sooner than later. I'm already using a color grading/correction that uses layers and "looks"

     

    From the discription it looks like there will be a lot of people switching over from Color that have been holding out. However, no dynamic link for SG might make me hold off for now as I'm not into exporting without the option to go back and change things, although it might work with applying the to the layers of AE and the replace with AE comp with that. Either way it's a huge step in the right direction!

     
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    Apr 21, 2012 10:57 PM   in reply to Islanders66

    @ Islanders66...you say this..

     

    The more I look into SpeedGrade the more I think I'll be upgrading sooner than later. I'm already using a color grading/correction that uses layers and "looks"

     

    Then almost next sentence, same post ...you say this...

    However, no dynamic link for SG might make me hold off for now as I'm not into exporting without the option to go back and change things

     

    I do not know of any CC application that uses DL as of now.  It is quite normal,  currently, in the professional arena to use intermediates, xml, edl and cdls to flip between applications.

     

    Until Adobe brings DL to the Speedgrade  / Premiere "table" ( and I am sure they are working on it)...we all will have to have patience...but meantime...the workflow Adobe shows us for Premiere & Speedgrade...looks simple and easy to go with for now.

     

    BTW: out of interest...what  is your  current application that you mention ? ...."color grading/correction that uses layers and "looks"

     
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    Apr 22, 2012 11:16 AM   in reply to shooternz

    shooternz wrote:

     

    @ Islanders66...you say this..

     

    The more I look into SpeedGrade the more I think I'll be upgrading sooner than later. I'm already using a color grading/correction that uses layers and "looks"

     

    Then almost next sentence, same post ...you say this...

    However, no dynamic link for SG might make me hold off for now as I'm not into exporting without the option to go back and change things

     

    I do not know of any CC application that uses DL as of now.  It is quite normal,  currently, in the professional arena to use intermediates, xml, edl and cdls to flip between applications.

     

    Until Adobe brings DL to the Speedgrade  / Premiere "table" ( and I am sure they are working on it)...we all will have to have patience...but meantime...the workflow Adobe shows us for Premiere & Speedgrade...looks simple and easy to go with for now.

     

    BTW: out of interest...what  is your  current application that you mention ? ...."color grading/correction that uses layers and "looks"

     

    The workflow that I'm using now is sending each clip to AE with Replace with AE option. Then applying custom grading and correction adjustments to each layer in AE. The applicaton I'm using while in AE is ColorGHear. http://colorghear.com/the-revolution-begins-january-1st/#comments

     

    I can get much better results than I can using Color, for exaple, and other reviews claim they get better results than from Colorista, or MBL. At any time I can also right click on the clip and edit the orignial AE comp, delete it, or whatever. I also haven't used applications such as DaVinci Resolve but at least the approach I'm taking is moving in the right direciton, and the Dynamic Link workflow is unique, as you have ponted out, that gets me the results I want.

     

    Even Shian who designed ColorGHear instructs people to export the entire PrPro project to AE via XML, and use FilmLock, but I prefer the dynamic link method between Premiere and AE.

     

    The reason SpeedGrade is appealing is that it uses the same approach of applying layers for each level of correction or grade. That's why I was hoping SpeedGrade could be applied to layers in After Effects.

     

    It's understandable that not many people have heard of ColorGHear, as it just started. Shian has been very generous to share his workflow and approach to color grading. He is a serious colorest who works on major motion films. These are not just presets either (although you can create your own) he has programmed certain tools and has them dialed and you can combine them, adjust them for the desired effect, which is a very professional result. He is also very generous sharing his knowlege.

     

    I'm also hoping After Effects has scopes built in. That alone would go a long way for me to upgrade. Also, I'm not just using presets to get a certain look. I'm taking a class at our local tech college that uses Color, but as this has been discontinued and I don't edit on a Mac, I use ColorFinesse and ColorGHear plugins in AE.

     

    Out of interest.. what color grading application are you using and what specific features are you looking forward to in SpeedGrade?

     

     

     

    Message was edited by: Islanders66

     

    I'll try and post a screen shot that I used on my first project with CGH. This is just one example.

     

    Frame28.MTS.Still001.jpg

     
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    Apr 22, 2012 2:10 PM   in reply to Islanders66

    Out of interest.. what color grading application are you using and what specific features are you looking forward to in SpeedGrade?

     

    Currently for any in-house post...I use the CC tools in Premiere as well as Resolve Lite.  At times Colorista and MB looks will be part of the CC / Grade process.

     

    I avoid using AEFX for CC mainly because of lack of scopes.  Broadcast legalising is an essential part of my CC / Grade workflow. (CC outside of here is always Da Vinci Resolve and Flame)

     

    I particularly like the Node approach in Resolve and although not "nodes" I look forward to Speedgrades "layer" approach which will be similar in effect.

     

    I am hoping SPeedGrade has the same "sensitivity and finesse" that Resolve has.  Premiere CC tools are difficult to be subtle with IMHO.

     

    I do not know what masking / power windows SpeedGrade will bring.  I hope they are relatively powerful because its important to me.  Crossed fingers.  No idea what blurs are available and not sure how SPeedrade works secondaries.

     

    I also anticipate that SpeedGrade wil have a reasonably easy workflow between itself and Premiere despite no DL.

     
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    Apr 22, 2012 3:37 PM   in reply to shooternz

    shooternz wrote:

     

    Out of interest.. what color grading application are you using and what specific features are you looking forward to in SpeedGrade?

     

    Currently for any in-house post...I use the CC tools in Premiere as well as Resolve Lite.  At times Colorista and MB looks will be part of the CC / Grade process.

     

    I avoid using AEFX for CC mainly because of lack of scopes.  Broadcast legalising is an essential part of my CC / Grade workflow. (CC outside of here is always Da Vinci Resolve and Flame)

     

    I particularly like the Node approach in Resolve and although not "nodes" I look forward to Speedgrades "layer" approach which will be similar in effect.

     

    I am hoping SPeedGrade has the same "sensitivity and finesse" that Resolve has.  Premiere CC tools are difficult to be subtle with IMHO.

     

    I do not know what masking / power windows SpeedGrade will bring.  I hope they are relatively powerful because its important to me.  Crossed fingers.  No idea what blurs are available and not sure how SPeedrade works secondaries.

     

    I also anticipate that SpeedGrade wil have a reasonably easy workflow between itself and Premiere despite no DL.

     

    Yes, I'm interested in the same features. Right now I have more experience with Apple Color that has 7 secondary correction rooms, a robust nodes approach in the FX room, tracking, etc. I haven't had a chance to test the secondary corrections in AE and I'm not as familiar with AE broadcast safe mode, although the power mask and tracking in AE are useful, as well as the scopes in ColorFinesse. I'm hoping the secondary correction features in SpeedGrade are as good as Apple's Color. If not SpeedGrade will be a joke, although I expect it to be more robust as it is a professional color grading program. In the next few weeks I'll have time to poke around more in AE and test out the secondaries. Even without DL in the first release it is still a huge step forward and confident Adobe listens to it's user base to make improvements.

     
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    Apr 22, 2012 8:06 PM   in reply to lasvideo

    Can anyone who has had a chance to see Adobe's Premiere Pro CS6 tell me if it will now allow the MVC footage from the Sony HDR-TC10 3D camcorder to be ingested?  This camera shoots in full 1080p 3D in the MVC format. I have been submitting feature requests for this to be added to Premiere Pro for about a year now. Currently  I am having to edit this footage in Cyberlink's Power Director 10 and in Vegas Pro 11.  I much prefer to edit in Premiere Pro which runs very fast and well on my Mac Pro, but Premiere Pro CS5.5 will not import the MVC footage.

     

    Tom

     
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    Apr 23, 2012 12:18 AM   in reply to lasvideo

    Two things interest me at this point:

     

    1) Through May 6th, you can buy 5.5 for $399 and get CS6 for free, whereas if you upgrade direct from CS5 to CS6, it's $749. Why is it $350 more to upgrade once? Is $350 the value of Adobe's annoyance for skipping a half-level, or is this an unintended loophole?

     

    2) SpeedGrade specifically lists the Quadro 4000 as optimal, yet every other program in the suite lists the GTX 285 as supported for GPU acceleration. What is the difference in performance in GPU acceleration between a Quadro 4000 and GTX 285?

     
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    Apr 23, 2012 4:16 AM   in reply to wonderspark

    1) Through May 6th, you can buy 5.5 for $399 and get CS6 for free, whereas if you upgrade direct from CS5 to CS6, it's $749. Why is it $350 more to upgrade once? Is $350 the value of Adobe's annoyance for skipping a half-level, or is this an unintended loophole?

     

    Adobe has usually allowed people who purchased right before the announcement/release of a new version to receive the free upgrade. They do this as a favor, not as a sales promotion. While there are certainly plenty of people who take advantage of it as a sales promotion (and Adobe is fine with that), it's much more about making sure that people who had no idea a new version was around the corner don't get stuck.

     

    As for the difference in price for upgrades, users are given a progressively better discount depending upon how up-to-date they have stayed with their software. Again, you're looking at it the wrong way. It's NOT about Adobe punishing users for not staying up to date, it's about REWARDING users who have. I think most would agree that it's reasonable to expect a loyalty discount of some sort, and the greater your loyalty, the greater your reward. It's not a punishment. If you didn't previously upgrade to CS5.5 when it came out, then you still saved money overall by making the choice that suited you best.

     

    2) SpeedGrade specifically lists the Quadro 4000 as optimal, yet every other program in the suite lists the GTX 285 as supported for GPU acceleration. What is the difference in performance in GPU acceleration between a Quadro 4000 and GTX 285?

     

    The difference is between "supported" and "optimal." The actual real-world difference? Guess we could possibly get some test results from the Adobe folks later today, or maybe someone will do a comparison. If you are chiefly concerned with grading your footage in SpeedGrade and need the best possibly acceleration and use 2k, 3k or 4k footage, then you probably want the best performing card you can get, which would be the optimal one listed for SpeedGrade. If you want a card that is also going be supported for MPE, be sure it's listed in the other apps (in this case the Quadro 4000).

     

    The GTX 285 is a relatively old card at this point that only meets the minimum specs for hardware MPE accelaration. I own a GTX 470 and have been satisfied with that level of performance. If you are shopping for a GPU, a GTX 285 might be quite difficult to find these days. A GTX 470 might also be getting rare. The new 500 series GTX cards should be pretty good, and might be all you need. (If you are on the Mac, I realize that Apple has somewhat limited your choices, so you may just want to go with the 4000 for best results across the board).

     
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    Apr 23, 2012 11:15 AM   in reply to Christian Jolly

    I see how that makes sense in regards to the upgrade. It's just interesting to see this little window of opportunity pop up like this.

     

    I've seen some comparisons between the GTX 285 vs. Quadro 4000, and it actually showed the GTX 285 doing a lot better due to double the bandwidth and 512-bit vs. 256-bit of the Quadro 4000. Since I *am* still on a Mac, I'm limited in my choices while using Snow Leopard. The interesting thing there is that in recent updates to Lion, it seems I can use the GTX 580 or other cards as well. I currently have a 5870 and a GTX 285, and I'm trying to make good choices moving forward. Eventually, I'll have to update my OS software anyway, so I'm wondering if I should try to keep up the Mac Pro, or cut my losses and build a new PC.

     

    With Creative Cloud, I'm wondering how performance is affected when the internet is down.

     
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    Apr 23, 2012 11:32 AM   in reply to wonderspark

    cut my losses and build a new PC.

     

    You'll actually gain by doing that.  More hardware choices, less cost, better performance.

     

     

    With Creative Cloud, I'm wondering how performance is affected when the internet is down.

     

    According to the FAQ, not at all.  You need the connection to install, and then once a month to check in, but not for daily use.

     
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    Apr 23, 2012 11:59 AM   in reply to Jim Simon

    > You need the connection to install, and then once a month to check in, but not for daily use.

     

    Note that that is only true for Creative Cloud Membership subscription option. No connection ever needed for perpetual license.

     

    You can get an activation code to type in for non-connected computers if you use the perpetual license option.

     
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    Apr 23, 2012 1:58 PM   in reply to Jim Simon

    Yeah, I might be able to gain if I can sell my Mac Pro for a decent price. My Areca RAID card and tower would all move to a PC nicely.

     

    Todd ~

    Is the perpetual license what you get if you sign up for a year at a time?

     
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    Apr 23, 2012 2:44 PM   in reply to Todd_Kopriva

    I haven't seen anything in any of the promo videos or sites about the inclusion of a useful track matte function.  Is there any chance this has been addressed?

     

    And please don't tell me there's already a track matte effect.  I know there is, but it doesn't give us the option of panning video inside a stationary matte, which is very limiting.  We need an alternate track matte that is fixed in size and location on the layer, and doesn't change when we pan or scale the image being matted.

     

    I also didn't see anything about dupe detection (vital), Timeline text search (useful), audio effects copy/paste / save presets (very helpful).  I guess it's time to start putting in feature requests for Pr CS7.

     
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    Apr 23, 2012 3:45 PM   in reply to Jim Curtis


    Jim Curtis wrote:

     

    I haven't seen anything in any of the promo videos or sites about the inclusion of a useful track matte function.  Is there any chance this has been addressed?

     

    And please don't tell me there's already a track matte effect.  I know there is, but it doesn't give us the option of panning video inside a stationary matte, which is very limiting.  We need an alternate track matte that is fixed in size and location on the layer, and doesn't change when we pan or scale the image being matted.

     

    Sounds like you could use the new adjustment layer to allow you to do exactly that - you'd put the track matte effect on the adjustment layer instead of the media, then do your pan/scale to the source media as before.  (Theorizing here, but I bet it'd work.)

     

    Cheers

     
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    Apr 23, 2012 4:01 PM   in reply to wonderspark

    > Todd ~

    Is the perpetual license what you get if you sign up for a year at a time?

     

    No. The term 'perpetual license' refers to the system where you pay one price and the software works perpetually. The perpetual license system is the "old" way of getting our software (which is still offered, of course). This is not the same as the Creative Cloud Membership subscription option.

     
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    Apr 23, 2012 5:49 PM   in reply to Islanders66

    Isladers66.

     

    I use to post a lot of ignorant things when i first started posting. I would ask things that if i had just spent 20 extra minutes on maybe i would have figured it out.

     

    There is no force that makes you upgrade accept client demand and maybe "i just want it". I personally use both FCP6 and Premier cs5. The 5.5 update was not enticing to me and i normally do not do half upgrades.

     

    This business cost a lot of money and when you can you should save yourself from jumping every year. I personally on upgrade every 2 years which started in 2010.

     

    My philosiphy is:

     

    What you do with what you have is much more important than what you could do with what you dont have.

     

    So max out your systems capabilities before you get ANOTHER app. It will save you tens of thousands of dollars.

     

    Masters cs6 is worth the dollars. and so will cs7.

     
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    Apr 23, 2012 6:27 PM   in reply to Todd_Kopriva

    Ah, got it. I thought there might be three licensing options, but it's actually only two:

    1)    Physical disk or download for one-time purchase = perpetual

    2)    Monthly Creative Cloud on month-to-month basis = subscription

    2.5) Monthly Creative Cloud with 12-month agreement = subscription for less

     

    I just ordered the CS5.5 upgrade for my CS5, which comes with the free CS6 upgrade. I did the online chat to confirm I can get a physical media box upgrade to CS6 when it's available, since I don't want a download, so that made me happy enough to buy it today. The plan is to stay on CS5 until the consensus is that CS6 is working well, then upgrade directly from CS6 from CS5 one time, never even using the 5.5 media, yet still getting the upgrade for $399. (I also bought Lightroom 4 for $99, so I'm thrilled with all that.)

     
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    Apr 24, 2012 4:49 AM   in reply to lasvideo

    Does anyone know if Encore is now able to display estimated time of completion during the build progress. Currently it can only display estimated time when writing the Image etc? This is quite for Dynamic Link users to know the estimated time during the transcoding.

     
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    Apr 24, 2012 7:00 AM   in reply to Todd_Kopriva

    Todd_Kopriva wrote:

     

    > You need the connection to install, and then once a month to check in, but not for daily use.

     

    Note that that is only true for Creative Cloud Membership subscription option. No connection ever needed for perpetual license.

     

    You can get an activation code to type in for non-connected computers if you use the perpetual license option.

     

    How would you get the code?  The system requirements for CS6 says that there is NO phone activation.  Internet only.

     
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    Apr 24, 2012 8:23 AM   in reply to tclark513

    > How would you get the code?  The system requirements for CS6 says that there is NO phone activation.  Internet only.

     

    Use a different computer that is connected to the Internet---including a smartphone. The wording of "no phone activation" is annoyingly imprecise, and I've pointed this out to the folks responsible for writing that information. When we tested this activation workflow, it was with a mobile phone accessing the web page to generate the activation code, which we then typed into the non-connected computer with the CS6 software.

     
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    Calculating status...
    Apr 24, 2012 5:06 PM   in reply to wonderspark

    Really Wonderspark? I understood that the free CS6 upgrade was one time download only. Can you tell us the method, suggested by on line chat to get the physical media. I would also prefer that to down load only.

     
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    Apr 24, 2012 9:46 PM   in reply to chac57

    I entered an online chat through the Adobe website. I don't recall if the "would you like to chat" window popped up automatically, or if I clicked a "chat with a live person" button somewhere, but anyway, I initiated the conversation as such:

     

    info: Please hold as we route your chat to an Adobe Representative.

    info: Welcome to Adobe.com!  My name is Sid. May I assist you with your selection today?

    Sid: Hi, How are you doing today?

    wonderspark: I have Production Premium CS5 right now, and I'm considering taking advantage of the 5.5 offer today for $399, and getting CS6 free when released, *but*... I want the physical disc media for CS6 when it comes out, and I read that one would download that update. Can I get a box instead of download when the time comes?

    wonderspark: PS. I'm great, how are you? (:

    Sid: wonderspark, I'm doing great, thank you for asking.

    Sid: Yes, you'll be getting a promotion code or couple code to enter to buy the upgrade version of CS6 at free of cost.

    wonderspark: So download isn't required after all?

    wonderspark: And, what is a "couple" code?

    Sid: wonderspark, if you buy the CS5.5 version now, you'll be getting a couple code/promotional code to get the CS6 at free cost.

    Sid: If you want to get the box version of CS6, you can contact our Customer Service Team when the CS6 is shipped.

     
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    Apr 25, 2012 7:07 AM   in reply to Todd_Kopriva

    Todd_Kopriva wrote:

     

    > How would you get the code?  The system requirements for CS6 says that there is NO phone activation.  Internet only.

     

    Use a different computer that is connected to the Internet---including a smartphone. The wording of "no phone activation" is annoyingly imprecise, and I've pointed this out to the folks responsible for writing that information. When we tested this activation workflow, it was with a mobile phone accessing the web page to generate the activation code, which we then typed into the non-connected computer with the CS6 software.

     

    Thanks for the update.  I really don't want my editing machine on the Internet.  How would the monthly verification work if I'm not connected to the Internet?

     
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    Apr 25, 2012 7:19 AM   in reply to tclark513

    It wouldn't.  At least once a month, your machine would have to be connected.  (According to the FAQ.)

     
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    Apr 25, 2012 9:18 AM   in reply to Jim Simon

    > At least once a month, your machine would have to be connected.  (According to the FAQ.)

     

    That is only true for the Creative Cloud Membership option. If you use the CS6 perpetual license option (i.e., the "old" way), the computer never needs to be connected to the Internet.

     

    This is a very important distinction that I need to make sure doesn't get lost.

     
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    Apr 29, 2012 3:36 PM   in reply to Todd_Kopriva

    Hi Todd

     

    Very excited about cs6, and def upgrading. Im considering creative cloud.

     

    One question:

     

    if after a period of time, say beyond the first year of paying monthly, if for any reason you cant continue to pay, for whatever reason,  what will happen with the software installed on your PC?. Can I still use this. I read that you need to be connected to the internet for a status check once a month, does this mean the software will be deactivated if you stop the subscription?

     

    Im just concerned I might end up with nothing if financial circumstances change, i understand offcourse there would be no new updates

     

    Thanks

     
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    Apr 29, 2012 3:40 PM   in reply to cjacs987654

    Yes. That's what it means. If you don't pay the subscription fee, the software stops working. If that is a concern for you, then don't use the Creative Cloud subscription option.

     
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    Apr 29, 2012 4:08 PM   in reply to Todd_Kopriva

    @ Todd

     

    Say someone goes the Cloud route and then a new version comes.  Will the person still have access to the old version ?

     

     

    GLenn

     
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