Description image

Are You Ready to Make Adobe a Utility? Creative Cloud to Launch Alongside CS6 for $50/Month

02.8.12 @ 4:16PM Tags : , , , , ,

Are you ready to add Adobe software to your stack of monthly power, cable, and water bills? Announced in October, Adobe is offering an alternative to their typical software upgrade cycle — instead of buying their forthcoming CS6 suite, you can sign up for Creative Cloud, launching “first half of 2012,” for $49.99 a month. This will get you access to the forthcoming CS6 apps, their new Touch apps, and 20GB of cloud storage. They’re also killing their old upgrade policy — partially.


CS5 and CS5.5 will be upgrade-eligible for discount CS6 pricing, but older versions of Creative Suite will not UPDATE: Adobe has since instituted a CS3/CS4 upgrade policy. There are a couple of things going on here — one is Adobe’s attempt to thwart piraters, who likely make up the majority of Adobe’s installed based worldwide. The second reason Adobe is moving to the Cloud is to integrate (and make indispensable) their online collaboration tools, like CS Live, which is complimentary until April. My guess is that Adobe will push Creative Cloud harder and harder as part of a long-term transition plan to get everyone to use not just their software but also their online extensions. If a SaaS-like model does not make sense for you, you can stick to the once-a-year (roughly) upgrade cycle, though once Adobe has moved to subscription software, they could even kill off the Creative Suite and just release apps as individual upgrades are available.

Also of note, Creative Cloud will include Lightroom 4, which comes with some vaunted video features this time around — once it exits free beta status. It always seemed wrong to me that Adobe’s $2,600 Master Collection lacked Lightroom…

Creative Cloud will launch alongside CS6 later this year, and will eventually include additional Adobe tools like Muse, Edge, Business Catalyst, Typekit, and Digital Publishing Suite. This is the beginning of a sea change in Adobe’s upgrade and sales approach — what do you think?

Link: Adobe Creative Cloud

[via The Verge]

COMMENT POLICY

We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 84 COMMENTS

  • John Jeffreys on 02.8.12 @ 5:15PM

    who actually pays for adobe software

    • Working professionals.

      • Not any of the independent ones I’ve met. That’s just silly.

        • I’d consider it extremely unprofessional when someone is “working” with hacked software. Where do you live, China?

          • Just my 2 cents on 02.9.12 @ 5:14AM

            Working with software you haven’t paid for ist not ok! Earning money with other peoples work is not ok! When it comes to the private use of this software, thing are different in my opinion. Which private person can afford all the programms you need for editing, plus an up to date computer, a camera and equipment? Noone i guess. So todays pirates are tomorrows customers and that seems to be ok like that. Otherwise Adobe wouldn’t allow you to download a “trial version” of their programs, which can easily be switched to a full version. In my opinion, it should be ok, that learners, beginners, non commercial users use a “hacked” version of the programms. Why not? They wouldn’t have been customers anyways…

          • Hey. I live in China and I pay for my software. So do plenty of other pros here. And a big reason some don’t is that Adobe, like many companies, doesn’t give a sh*t about China and makes no attempt to offer professional service here or even really make the products easily available (at least until recently).

            For example, look what happens when you try to buy something from their website. You get to this page: http://www.adobe.com/cn/purchase/ For the entire Northern region of China, encompassing 7 provinces and two megacities, there are a total of seven stores that sell CS5.5 stuff legally. And they’re all in Beijing. Too bad for pros who live in Harbin, guess they’re going to have to buy train tickets, take the overnight ride down to Beijing, find one of those shops (hope they have it in stock!!), then take the train back up again. So, in addition to the actual cost of the software, it costs you two train tickets (at least $100 unless you’re willing to stand the whole way there and back) and two days time, plus whatever you have to spend on food or accommodations and transit in Beijing. A trip from, say, Inner Mongolia, would take even longer and cost more.

            (Alternatively it may be possible to download the trial versions online and then buy a serial number in China, I haven’t tried that. But given download speeds on most Chinese ISPs, many people prefer to buy programs like this on disk. When I downloaded CS 5.5, it took me nearly two weeks, and that was without ever turning off the computer. I live in Beijing, where the internet tends to be faster than in smaller cities sometimes.)

            So, you might begin to see see why some Chinese people would consider using a pirated version. Sure, none of that stuff justifies stealing, but Adobe really hasn’t given people any great options. And as far as services in China go, Adobe is actually WAY ahead of most other companies (and, to their credit, getting better; I think things are better now than they were a while ago when I was buying).

            (For me, the fastest way to do it was to download the trial software while simultaneously ordering the hard copy and having it shipped to a friend in the US. He then passed me along the serial number so I could unlock my trial version after it finished downloading. But obviously not everyone can do that.)

    • Mickey Jones on 02.8.12 @ 7:10PM

      Adults

      • John Jeffreys on 02.8.12 @ 7:23PM

        So you feel important and entitled just because you bend over and pay thousands of dollars for a string of code year after year?

        • can you write that string of code year after year?

        • it’s that type of thinking which undervalues the software and digital media industry, just because people can’t touch it with their fingers means it’s worthless. Give it a couple of years, when you’re earning money off your trade and you’ll understand.

    • People who respect the hard work of programmers and don’t want to STEAL from them. Also people and businesses who fear people like me who will turn them over to the BSA (Business Software Alliance) in a heartbeat for the reward money; blown that whistle twice so far. John Jeffreys… is that your real name? What company do you work for John?

      https://reporting.bsa.org/r/report/add.aspx?ln=en-us&src=us

    • When I was a poor college kid, I started on a pirated copy of fcp 2.0 (not the final cut studio 2) ya know, the old skool 2.0. I would have never been able to afford it at that time in my life. But now that I’m older and make decent money in my career, I pay. And BOY do I pay.

  • John….your a dink. If you are producing anything for clients I hope they are NOT paying you, based on your mentality.

    • John Jeffreys on 02.8.12 @ 7:24PM

      I dont do “clients”. I make things for myself, and alot of people seem to like them.

      • Your work just a string of zeros and ones, too! Following your logic, nobody should ever be willing to pay for your work. Do you steal your lenses, as well? Paying thousands for a piece of glass and metal would be so dumb, when you can just take it for free, right?

      • Do you tell people that “like” your creations that you use pirated software to create it? How about you go into a camera store and shoplift a nice new C300….if you get caught you can say that you were only going to use it for your own projects. I’m sure the authorities would let it slide and give you a few lenses to work with it for good measure……

        Grow up and be professional or get out of the game.

  • I think this would be great for a company that needs to temporarily add seats for a particular project. Even for the freelancer who may not use Adobe suite as much and needs it for a few months.

    I don’t upgrade to every new version that comes out, so I don’t see this as being as beneficial to me.

    I hope the upgrade policy doesn’t keep changing with new releases, so that you are forced to always upgrade to keep getting the upgrade discount. Adobe used to have the most liberal upgrade policy I knew of.

  • One note about the upgrade policy: Adobe took a step back and gave more leeway to CS3 and CS4 customers. It has been reported in multiple places ( http://bit.ly/AbJEKW ). Adobe has removed the relevant section from the blog post on their site, but the info remains in their FAQ section ( http://www.adobe.com/products/creativesuite/faq.html#upgrade-eligibility ) under the question, “What is Adobe’s upgrade pricing policy?”

    So you don’t have to be on CS5/5.5 to get a discount, though it’ll likely be less for CS3/4.

  • The indie way to go for non-established filmmakers/creatives, is to pirate the shit out of adobe, including fcp, thats how it goes, especially in Europe where I used to reside, adobe software is very expensive, more than the US ones, so where does that lead? Piracy. I would pay for each and every of the awesome software that adobe creates if I could afford it. Plain and simple.

    • No matter what you say, it’s still stealing. People who have unpaid for software on their machines are still thieves. If you don’t get caught here on Earth, then you can count on answering for it in front of God. No one gets away with anything in the end.

      • LoL@Razor.

      • chickendinner on 02.8.12 @ 11:47PM

        God will judge pirates AND snitches

      • I agree it’s stealing, but if I’d never pirated FCP I wouldn’t be able to now make a living as an editor. Now I work, I pay. Usually. I’d be worrying about God’s judgement if he existed.

        • Re: if I’d never pirated… Well nowadays most companies have trial licenses and even discounted and FREE student editions, so in response the software companies have really bent over backwards to accommodate the learning time and financial aspect.

          Re: if he existed? You should worry, because in the last 152 years the theory of Evolution has never been proven true with not even one single verifiable transitional fossil, which is why ever year they keep look for that magical, missing link…which is still missing. The assumptive ideas of Evolution are only for the gullible and those too lazy to research the data for themselves.

          • Yes but, what is more probable, that the only fossil needed to prove Evolution is missing, or that instead of that, someone who we dont have any prove at all of his existance invented us?

          • Someone needs to visit TalkOrigins.org

          • Wait what?!… a Evolution vs Creationism debate in a comment-thread about Adobe’s upcoming change of pricing?! Haha, oh where do I even begin.

            Sigh… I was about to write a long comment about how creationists have thoroughly misunderstood everything about evolution and how both scientific methodology and terminology of “theory” works in the most basic plane. But I had to reign myself in, since this is so far off topic that it would only derail the discussion about Adobe at hand. (you want to discuss crea-vs-evo? feel free to mail at j.malmsten@hotmail.com and I’ll do my best)

            Anywhooo…

            On the subject of piracy. Yes, I too am one of those that wouldn’t have anywhere near the amount of know-how of video-/image-/audio-editing if it weren’t for the existence of pirated software. The USD-price is steep enough for newcomers, but buying it in Sweden is about DOUBLE that! And you’re sitting there viewing yourself as a hobbyist with little to no prospect of earning those 3000 dollar-equivalents back within any foreseeable future.

            That being said. I always had this nagging feeling that I call a conscience. That feeling that what I’m doing is wrong on a fundamental level (no need to bring a deity into this). So the plan was always to get rid of that feeling by doing the right thing and buying a legit copy. And so it has been done.

            Now, with the prospect of lowering the legit copy from 1600 USD (3000 USD when bought here) to 50 USD per month on a subscription-basis… It is a friggin’ gods-send. They’re practically giving it away, it feels. Even if it turns out to be 100 USD for Production Premium-equivalent (maybe we can tailor the package to our needs). Yes, 100 USD/month is 1200 per year. But if you’re going to upgrade each year anyway it’s still very much doable on tight budgets not to have to put down a hefty single huge payment. It’s like a payment plan and if it’s too much, you won’t end up in debt. A win-win. Heck I feel like I spend 100USD per month on stuff I can do without anyways if it means I can have up to date software constantly.

            Will it kill piracy of Adobe-products? pffft… oh no… There will always be people that are too cheap to pay for anything. But at least we who want to be legit now can be without taking out a mortage. And I think Adobe will see little to no loss in actual income. Probably even an increase when people realize that they will be able to actually use the products legit which would mean a growing market. Existence of heavenly judgement or not.

            Now may you all be touched by his noodly appendage!

            RAmen! :D

  • at first, this should sound great for the low-budget filmmaker: if your short needs 2 months of editing, color correcting and VFX, you pay $100 and have a lot of great tools just for that project

    but that $50/month quote is for an annual plan, which puts the cost of the software at $600/year, whereas currently the upgrade from CS4 to CS5.5 production premium is $470

    so, if the month-by-month pricing is significantly higher, or if there’s no cheaper rate for a subsample of tools, then this should be filed under “steep price increase” and “bad news”

    • That´s if you are going for the upgrade… for those wanting to start (or more likely upgrade from a “pirated copy” for professional projects) could be worth while. If you are upgrading you have to have already purchased a previous version at the cost of an arm and a leg.

  • Personally i think this is a great idea. For someone like myself, not actually working in the industry, and not able to afford to buy the creative suite software and then upgrade every year. I would definitely be happy to pay a monthly subscription to use the software legitimately.$50 is a very reasonable amount too I think.

  • Not too happy at all, not all of my computers are online, in the foothills the only ability to get online is through Sat. = 5GB per month data cap.

  • Am I looking at this right? I’d be able to download each app for my Mac and my PC? Umm…hell yeah.

  • I think it’s fantastic. The Master Collection costs $2500. Annual subscription is $600. It would take me 4 years of subscribing to add up to the cost of the Master Collection, but in those 4 years I get every upgrade automatically. How much does the upgrade cost for someone who purchased the Master Collection? Around $1200.

    If you use most of the products in the Master Collection, the $50/year is a great bargain. If you only use Photoshop, then not so much.

  • If you use the software pay for it. If you decide to use pirated software I hope someone breaks into your house and starts stealing your crap. Brutal. Sure, maybe next time you’ll think about stealing?!

    Why is it so hard to pay for tools? This “corporate greed” fallacy, “I wouldn’t have paid for it anyway” garbage is a smoke screen argument that people try to use to justify doing something that is wrong not matter which way you look at it. If you can’t afford it, don’t use it. Or write your own code and build your own software.

    • Stealing is a direct transfer of possession. Copies of software are *copies*…there is no transfer of possession. That doesn’t make piracy okay, but saying it’s exactly like stealing is bullshit plain and simple.

      Software companies realize some potential users may not have the financial means to pay full price (i.e. if these people obtained the software via piracy, it’s not lost revenue since the person doesn’t have the money to begin with)…that’s why student pricing exists. Student pricing targets a large group of people likely to use the software, but unlikely to have the money to pay the full price.

      I would guess that this new Creative Cloud is also an attempt to get a greater number of people to pay. They’d rather have a ton of people pay a little, than have a few people pay a lot…the fact is there are a limited number of people with a lot of money, but a multitude more who can pay a little. And this is the flaw in thinking that a pirated download = money stolen. So long as the people with a lot of money aren’t pirating, there is a cap in how much money will be spent…and piracy by poor people has zero effect on that cap.

      • @Gabe, how hard is this to understand. If you can’t afford to buy it (with or without student pricing) don’t use it. Adobe makes the product so they get to set the price. What give’s you the right to use it for free? It’s not even that expensive given what you can do with it. If you can’t come up with enough cash to buy the programs you’re going into the wrong business. Try basket weaving. This whole idea that you’re entitled to something even if you can’t pay for it is stupid wrong. Your argument is lame and any honest person will admit that.

        Once someone has a pirated copy installed what motivation do they have for buying a legit version… almost none. Which is why I’ve see real businesses using pirated software and making money off of it on a daily basis. Lame.

        • Excuse me, did you even read my comment? Like the part where I said piracy’s not okay? How do you come off accusing me of piracy? Should I accuse you of stealing?

          You’re right that it’s up to Adobe to set their price, and from their new pricing it’s clear they have a much better grasp on the issue of piracy than you do. But feel free to keep living in your lala land of self righteous indignation.

  • Patrick Urs on 02.8.12 @ 11:34PM

    Good on Adobe for looking to improve their terrible pricing and moving to a better sales model that fits the software market. There’s still room for improvement – plenty, in fact, but they’re working on things.

    But hey, it’s a step above their absurd pricing that has done more to encourage piracy than anyone at Adobe would be comfortable admitting.

  • chickendinner on 02.8.12 @ 11:50PM

    The camera used to shoot [Aguirre] was stolen by Herzog from the Munich Film School. Years later, Herzog recalled:
    “It was a very simple 35mm camera, one I used on many other films, so I do not consider it a theft. For me, it was truly a necessity. I wanted to make films and needed a camera. I had some sort of natural right to this tool. If you need air to breathe, and you are locked in a room, you have to take a chisel and hammer and break down a wall. It is your absolute right.”

    • Turnabout is fair play. I look forward to the indy film maker who has the cojones to steal from Herzog and film the theft in progression. Could be a great publicity stunt. And hopefully the person is well schooled in Herzog’s film school. But there aren’t people that bad ass in the States.

  • @Patrick, what do you know about adobe’s pricing structure? #1 adobe is in business to make money. That’s what businesses do. You have no idea what it costs to run their business so how would you know if it’s absurd? How much do they spend in acquisition or in development? How about research and marketing? They have teams of people who focus on adding new features, better integration, education, improved performance, support, etc. I guess they should all donate their lives work and expertise?

    @chickendinner, I hope you remember that next time someone NEEDS something that you have! Maybe they should just take it?

  • If you consider yourself a professional and/or a freelancer seeking projects for pay, the $50 monthly subscription fee is a fractional cost of doing business. If you can’t afford that small payment, you may want to re-evaluate your business model/rates. Perhaps skip the daily trips to Starbucks.

    The creative suite is an incredible set of tools. I could only imagine the cost of research and development for Adobe.

    As filmmakers, freelancers, videographers, digital artist, etc…these tools are essentially for us to produce great work, and allow us to do our daily craft day in, and day out.

    If you’re a student, skip buying a couple textbooks and apply your loans to this software…or take the great advantage of educational rates. Long story short, don’t steal. If you must, do a small project once a month for a friend and charge them the subscription fee.

  • I’d love to know why people still use Avid over Premiere (Except for just being comfortable with it). Avid used to be great, but it didn’t improve enough with time, while Adobe was marching forward. When looking at technological progress, if you’re not moving forward, you’re staying behind.

    I’d really like to hear some opinions from people who can tell me why Avid still is considered better than Premiere.

    • 1. Avid DNxHD is free and works properly, whereas Cineform is not free and is way buggier.

      2. Premiere is fine for a one-man band… but the moment you start needing multiple editors able to work on the same project at the same time (eg two guys cutting sequences, another assistant logging stuff and flagging selects)… the workflow breaks down in a catastrophic manner. At that point, Avid really comes into its own. Good answer? FCP 7 kinda could still work in this situation but FCP X and Premiere just fail at the moment. Does that explain why so many of the larger editing houses are moving to Avid?

      3. Other issues I can think off the top of my head with Premiere are: trim tool sucks, Mercury Engine performance becomes bad when you want simultaneous professional video out, it’s buggy, it is not stereo-aware (Cineform 3D is a kludge)… Versus with Avid you have things like warping-based time remapping (like Twixtor), excellent media management, script-based editing with phonetic awesomeness, proper hardware mix controllers with moving faders, hardware color-correction trackballs… This is just random stuff off of the top of my head. There is a lot more.

      Not saying Premiere isn’t great for a lot of people… but does this help explain why Avid is worth the extra money for some folks?

      • It does help yes.

        1. DNxHD works on Premiere as well. It is a great codec indeed.
        2. Makes sense.
        3. I actually find the Mercury Engine to be amazing and don’t see them problem with Premiere’s trim tools. Cineform is problematic at times, yes, and their costumer support is pretty bad. The other things you wrote, I can understand where they shine over Premiere. Though I enjoy linking my project into After Effect for all those extra effect tools.

        I’ve been working with both programs and at first I really liked Avid, but as time went by I found Avid to be lacking at many features that Premiere had. Perhaps I should go back to Avid. It’s a bit though to decide, since the more I work with one program, the slower I become with the other.

  • Rev. Benjamin on 02.9.12 @ 9:33AM

    I’m finding it kinda funny how much talk about piracy is going on here, and so openly at that. I mean doesn’t this highlight why Adobe’s new infrastructure is necessary?

    • Agreed. The number of comments here condoning piracy shows exactly why Adobe felt it necessary to lower the cost of entry, by instituting a monthly fee instead of a lump-sum $2.5k payment.

      The entire equation changes, though, once you start making money by using a piece of software. Especially in an environment where you have clients. Especially when stability and reliability concerns are paramount. Not to mention the morality of it all.

      • Once you own a Master Collection the upgrade pricing is reasonable. Upgrading from CS3 MC to CS4 MC was $899, and going from CS4 MC to CS5 MC was also $899. Upgrading from CS5 MC to CS5.5 MC was $494 with a promotional discount. So when CS6 comes out, I will just go for the upgrade price which will likely be around $500 again. I will not do a monthly because I don’t want the added stress of yet another monthly payment to keep track of, and the added stress of making sure I have extra money in the bank to cover a new monthly payment. I also don’t like the “apartment” rent idea. I like owning the software and not worrying about missing a payment and then being suddenly cut-off from using vital software.

  • I guess this probably isn’t for me, but that said, I don’t see anything here to get excited about.

    Mobile apps — Who does any kind of real (editing) work on a phone? Sure, maybe you shoot something with an iPhone or whatever, but no one paying Adobe premiums is going to want to edit it there.

    Cloud storage — What video editor can get by with 20 GB of anything? Heck, most graphic designers probably wouldn’t consider that sufficient. This is especially weak given that there are services that offer UNLIMITED online storage for something like $50/year. Obviously Adobe’s offering a lot more here, but to me, 20 GB of cloud storage is the same as not having any at all.

    Creative community — doesn’t this stuff already exist? I hope CS5.5 users won’t be cut off from all that if they don’t upgrade….

    Web services — these appear to basically all be for web designers, so yeah….

    What would be cool is if they offered sub-packages, like CS6 Production Premium, comes with those programs, none of the mobile crap or web services, but 500 GB of cloud storage. Are they planning to do anything like that, or is it gonna be all or nothing? (Note: I didn’t watch the video, my connection is too slow right now. Freakin’ China.)

    • If you’re complaining about cloud storage… you’ve never used a service like Dropbox when interacting with clients. As a video professional and professional stills retoucher (You can see my retouching in Car & Driver, Motor Trend, Nylon, etc.) it’s great to be able to load raw images, 720p draft video renders, etc. Of course this becomes almost useless if Adobe doesn’t give you the ability to pass out public links to your clients. It’s worth waiting for more details.

      • I suppose. But if you’re just passing out small files like that and using at as a way to share files with clients….why not just keep using dropbox?

  • Clayton Arnall on 02.9.12 @ 12:43PM

    About the upgrade only available for cs5 – pretty sure Adobe changed their upgrade plan and is now offering upgrades to cs3 and cs4 people:

    http://www.adobe.com/products/creativesuite/faq/upgrade-policy.html

  • Running the math, if you consider the upgrade cycle being yearly, the break point comes after about 6 years of ownership. If you buy Production Premium and purchase 5 additional years of upgrades then the cost is about $3,700 at the current rate. For 6 years of subscriptions you get the entire suite, additional services, and constantly upgraded programs.

    Of course it’s a bigger initial investment upfront but if you purchase Production Premium and walk away then at least you own the software. Sadly, video production is extremely forward thinking with technology so it’s difficult to work with anything but the most modern tools.

    In the US having a constant subscription might actually work out better on freelancer’s taxes since there is no depreciation on the investment of purchasing software.

    Just my initial thoughts.

    • I find that post houses tend to avoid upgrades once they have a stable workflow. The bleeding edge is limited to the independent working from home.

  • “STARTING at just US$49.99 a month” Hope I’m wrong but this is leaving the door open for different pricing tiers. Right now I think the Masters collection is over $150/mo. At $50/mo for everything it starts to be a great deal if you don’t have everything you would like to have.

    You cannot get the software for just a couple of months. (based on a one-year commitment).

    • Let’s hope the $50/month is the discount for a year-long signup, and higher prices apply only if you sign up for a shorter amount of time. I’m also hoping similar prices are available worldwide, as Adobe’s track record is pretty poor in this regard. Australian and European pricing is much higher than US pricing, even taking local taxes etc. into account.

  • I would never want to have my software as a monthly fee. It does not matter to my clients if my software is out of date or two-three versions behind. I can get the projects done right, without having to spend $600/year to cover the software. The $450 investment (education for production premium) can last me many years into my career and save my clients money (or help my lower my prices to win bids).

  • I am pretty new to all of this but how would I go about using my various plugins with Adobe’s cloud based service?

    • CJ, the same way as you do now. All the software is still downloaded and installed on your system. The difference would be that the software would check to make sure your subscription is current, if not and you went online the software would probably get deactivated.

      I would thing that updates would not happen automatically if you didn’t want them to. If you use plugins you normally need to wait a bit for them to catch up, plus sometimes you have to update them.

  • Points all well founded about freeware versus purchases, and intellectual property rights (?? years of struggles, and finally a pay day etc.) so we disagree to agree to disagree.

    The cudgel of AVID versus Premiere sounds like segment-market share speak and a legacy from the hardware is king days before AVID almost went down after buying DigiDesign.

    Suite builders (chairs) for mega Hollywood style edit outfits are using what exactly? The marketing folks would compare but, if or when the entire paradigm shifts from iJOBS, Adobe, Sony completely back or to AVID, that argument is self serving.

    Go to NAB in Vegas during April, the plethora of high-end tools is overwhelming, and not at all limited to AVID versus Adobe these days.

    The pace of change simply isn’t availed to “one” brand over another, and the bias for any brand, is self limiting.

    IF or when one becomes accustomed to the tools, and sets the players (associates) into a format platform, then all share the goal.

    Stating that Adobe is crap for multi camera use, is plausible, and erroneous at the same time.

    Some folks are running concurrent content edits from across oceans, on RED Epics and doing fine with APP so I’m not certain, in every circumstance, we can accept the premise of AVID being a superior co-authoring tool, sorry.

  • I agree, that’s stealing. But there is a problem, in many countries (most of them) pay the license to use the software is simply impossible for freelancers or small studios. It’s not a matter of judgment, simplente is out of reach. This change will increase the gap between countries with strong economies and those with weak economies. Since there will be no possibility for students to get real work experience, and industry in these areas will stagnate in the latest offline versions of the software. Just one more step to divide rich from poor counrtries.

  • Do Adobe really have to continually update their software? This yearly cycle probably isnt necessary – maybe one or two apps really benefit from it but it would seem that Adobe is milking the cow just a tad. Lack of competition has allowed them to fully exploit their “loyal” incumbents. If Adobe were truly serious about faciliting growth in their users they would reduce their prices. The cloud deal is a start but still not cost effective for schools. Take a leaf out of Apple’s pricing regime and we may not be talking about piracy for long.

  • If they could do a “film essentials” with just the video editing related stuff for $25 a month, I’d upgrade from CS4. But $50 a month is too much of a leap.

  • LinuxDanish on 02.10.12 @ 10:17PM

    Correct me if I am wrong but a T2i +/- $800, basic lav =$200, zoom H4n =$400, computer( most likely at least Macbook Pro) +/-$1600, production premium (on student discounts) = +/- $400. these are relatively basic components that a student might have. know explain to me where I am wrong but it seems like the $400 you spend on CS pales in comparison to everything else required. and I they can’t afford that they could always do what I did and start with windows movie maker/cinelerra for their first jobs until they got the money. the point is I started out with a crappy computer and a crappy camera, but put vision into it made some money, upgraded made more money and continue to upgrade. I have a hard time believing that someone can tell me honestly that there is no way they could possibly not make it without hacking Abode. Granted I live in united states (so pricing difference?), but every windows install has movie maker, not to mention iMovie on Mac.

    • LinuxDanish on 02.10.12 @ 10:20PM

      ^sorry about the double negative.*I really should proof read more.

    • funkydmunky on 02.13.12 @ 11:08PM

      Sure they could start with Windows Moviemaker. But not if you make them by an overpriced Macbook Pro.
      I get what you are saying though ;) But should anyone be wasting money on a logo when more capable hardware that runs Adobe software is available for less?

  • Nice try, conscience. You almost got me.

  • Nothing stopping schools using Premiere Elements. Unless there’s a complicated post production workflow (e.g. for broadcast), you can achieve exactly the same end product using Elements or similar budget software. Can’t help thinking that using Apple hardware is a really bad idea for schools, or film makers on a low budget – expensive and it to some degree locks you into one manufacturer’s (also expensive) products. I say this as a Mac owner with CS5 and FCP7 (neither hacked!).

  • So if my internet service goes down, I close my company? My clients will really appreciate that!

  • funkydmunky on 02.13.12 @ 11:27PM

    $9.99 a month and i wouldn’t even consider pirating.
    Even with a $49 sign-up fee. Think about it Adobe. Thats $170 first year and $120 every year after. And you just eliminated your competition. Why would anyone switch after that point? And you just gained how many customers who used to pirate? Who would bother stealing when it is at $10 a month!
    At $50 bucks per/m, guess what?

  • I HATE cloud computing. People speak of the “cloud” with a kind of bizarre religious reverie. Do you know how many MBs Photoshop and After Effects alone use? The internet doesn’t have the bandwidth to host so much data. If every company began to store their apps on the cloud, no one would be able to open a program for all the traffic jams.

    The software I use in the course of my job (Maya) has decided to store their help files on the cloud. Stupid! Most freelancers work at facilities that won’t allow internet access. Autodesk is implicitly saying, “Screw you guys if you need to look up the basic functionality of your software”. Even if you’re able to get an internet connection at work, the help docs take forever to load the search database.

    Adobe is on my $#lT list as well. Their Adobe Community Help drags ass.

    I expect my software to perform to its fullest potential. Grabbing data from over an internet connection will NEVER be as fast as pulling a file from a local drive.

    Screw you, Cloud Evangelists. You’re making my job harder.

  • I can say that I am more than happy to pay $50 a month in order to have full access and constant updates to the Adobe Creative Suite. I pay $7 a month for Netflix of which I barely use and new shows are a bit lacking. In the end this pricing model will make the creative app market more competitive. Competition is good for the end user. We get to benefit from Adobe, Apple, and Avid slugging it out perpetually trying to carve out a a bigger piece of the market share pie.

    To those complaining about their apps being hosted on the cloud, I’d like to clarify that your app will live on your hardware but the CreativeCloud gives the ability to share project files much like we share files via Dropbox or Google Docs. This is a massive leap forward in productivity between coworkers and clients.