SpeedGrade broadcast codecs

Similar Questions

• How do you get Speedgrade recognize h.265 codec as first with the new update?

  The new update allows users to first now edit in h.265 with no transcoding to Apple ProRes 422, or whatever you use for editing. However, I personally am not able to open the file h.265 in Speedgrade. Does anyone else have this problem? Is there a way to bypass this incompatible codec between first, Speedgrade and codec h.265 on a mac?

  Confirmed... as has been pointed out by Sekhar, Adobe sent the mp4 'bad' in SpeedGrade importer. dummergold, PLEASE remember this! You're an absolute gem to have here!

  Copy one of the programs/Adobe/Premiere Pro Plugins/2015/Common... file: ImporterMPEG.prm

  At the same place to the SpeedGrade, instead the file slightly more small in SpeedGrade, re-boot Sg and voila... There are pictures HEVC in SpeedGrade!

  Neil

• Terms of delivery for broadcast HD - MXF / AVC Intra / Audio Codecs

  Hello

  I have a number of episodes for HD delivery to a broadcaster and their delivery requirements are:

  Enveloping MXF

  Video Bit Rate 100 Mb/s

  Video codec AVC Intra

  Codec video settings high 4:2:2 level 4.1

  Audio Codec PCM pairs, AC-3 or dolby E

  Looking at export options (2015.2) I used preset

  MXF OP1a, AVC-Intra class 100 1080 50 p

  Someone knows if I chose the right one, or is there a better?

  I'm afraid that audio description is simply 2 channels uncompressed - there is no mention of a codec.

  This preset gives 4:2:2 encoding - or where I can get a description full of what offer presets?

  Any ideas?

  Thank you

  Oliver

  Hi Oliver,.

  Here is a screenshot of the audio tab in the window export. The checkbox "separate Monospuren" of the spirit - the English version should be "separate mono tracks" (or almost):

  

• WINDOWS MEDIA PLAYER... Missing codecs

  My windows media player use to play DVD & VCD but now missing the codec so can't watch these now. Download the codecs but them uninstalled as apparently do IE, Media Player etc unstable. Is anyone able to help with this please... Thanks :)

  Hello

  Thanks for posting in this forum. I understand that DVD is not playing in Windows media player, installed some codecs but these codecs were Internet Explorer unstable. Let us know if it's the misunderstanding of the question.

  A codec is a software to compress or decompress a digital media file, such as a song or a video. Windows Media Player and other programs use codecs to play and create digital media files.

  A codec can consist of two components: an encoder and a decoder. The encoder performs the compression function (coding) and the decoder performs the decompression function (decoding). Some codecs include both components and some codecs only one of them.

  For example, when you rip a song from an audio CD on your computer, the player uses the default Windows Media Audio codec to compress the song into a compact WMA file. When you play that WMA file (or any WMA file that may be broadcast from a Web site), the player uses the codec Windows Media Audio to decompress the file for music can be played through your speakers.

  For more information, visit the link.

  Plug-ins and Add-ons for Windows Media Player

  http://Windows.Microsoft.com/en-us/Windows/Windows-Media-Player-plug-ins

  WARNING: Using third-party software, including hardware drivers can cause serious problems that may prevent your computer from starting properly. Microsoft cannot guarantee that problems resulting from the use of third-party software can be solved. Software using third party is at your own risk.

  Let us know if this information has helped.

• QUICKTIME HD CODEC MISSING IN PP2015.3

  Hi guys

  Usually I exported my TV is broadcast in Quicktime HD Codec, but since I've updated for first Pro CC 2015.3 codecs are missing?

  Can anyone help with this?  It is vital for this codec for the file size was super nice and low quality for what we wanted.

  Any help will be great.

  I use a Windows 10 PC.

  Kind regards

  François

  Hi all

  Without QT installed on your machine, you will get all the codecs.

  Thank you

  Regalo

• Pipeline of color SpeedGrade, need help

  I am currently stationed at the color grade a short film using a system composed of HW and SW following:

  HP Z820, nVidia Quadro 4000, Windows 7 x 64 Adobe Speedgrade CS6 and a Dell U3011 10-bit display connected via Displayport (made not have LUT HW capacity)

  I have trouble understanding my color pipeline and how to manage it. In particular, Speedgrade CS6 is run not a color app (although Premiere Pro CS6, is) and therefore does not use the ICC profiles loaded on my system. I can create a LUT of my ICC profiles and load in Speedgrade as "calibration" LUTs, but I'm still not clear where this fits in the pipeline. I want to understand how ICC profiles created by i1Profiler xrite are used in this particular situation, that is, in my Nikon D810 (flat) H.264 in Pr acquisition, cut and exit like DPX (or not), interfere in Sg as DPX (or native MOV), classified, exit to create FADS for festivals.

  I know that my particular monitor and use of ICC profiles is not the preferred option, I have already said on the various forums of d-cinema, but unfortunately, this is what I have and what I need to use for this project. I'm trying to understand the pipeline of color in THIS particular system to make the best decisions possible obtain the best possible result.

  Specifically, is there any part of the ICC (monitor calibration/profiling) profile that can / will serve as Speedgrade? For example, I think that there is a matrix (for example, vcgt) or READ any loaded in the HW of the Quadro 4000 at startup by the loader profile xRite (or windows, whatever the case may be), but is then affect all applications, both managed and unmanaged color? Or is - it too, managed by the Windows CMS? If the first, then what part of the ICC will be used by Speedgrade and whose part won't (regarding the adaptation of the color, transform, gamma, etc., i.e., what did the LUT in the Quadro do for me and no color y managed apps)?

  My goal is to import video data from Rec709 (which I guess now my Nikon product) in Speedgrade (which I believe works natively in XYZ space) and be able to see a representation of Rec709 on my monitor, but also to be able to vary the gamma of my screen (e.g., 2, 3(2), 6) to see what my video would look like DCI 3 p in a theater. I understand there are MANY other considerations as surround it, the ambient light levels, etc., but I'll try to manage those better I can too. In addition, this short film is a horror of day and night, so it will be overall dark and mono-chrome (ish), but I don't want to do a theater and see nothing else that black with a small movement here or there. I don't mean to the reproduction of color perfect; I'm more concerned with good reproduction of gamma and black levels.

  No indication on how the monitor profile ICC I create with spectro i1Profiler and i1Pro is used by Speedgrade (and Pr) in my work flow would be greatly appreciated. In addition, all understand how (and when / if) to use the calibration of Speedgrade lut to facilitate this process would be useful. I can also use Photoshop to check the Sg TIFFs with different profiles for final check - anyone done this before?

  Thank you

  Shane

  Patrick J. Palmer

  Shane Taylor wrote:

  I intend to calibrate my screen using xRite i1Profiler and i1Pro spectrometer to Rec709. In this case, the operating system must load the lut in the Quadro 4000 and, if I understand what you said above, as long as Sg and Pr display RGB 709 data, I should be fine, right? But then, I have the following question:

  You will be ok with respect to the list Rec.709 data correctly on a screen that conform to this standard. Indeed, it does not cover your data management.

  1. given that Pr and Sg are not aware, color if I bring in a file in a different color space, it will be not displayed correctly, right (as Sg will not be using Windows CMM color space transformation)? However, if I have a LUT to transform different Rec709 color space, I could load a LUT of calibration in the Assembly / installation / calibration and display correct, correct?

  They are aware of coloor - both are designed to bring in pipelines Rec.709 (true for the CS6 version). SpeedGrade can also be used in other scenarios, but for simplicity of your facility, consider two applications being colour managed - it's 709 through and through (with the exception of internal transformation in SG color - making using a much wider RGB 32-bit floating point pipeline to avoid any artifacts).

  What I have is pretty simple, but there are a few pieces that I did not yet understand to manage at best. Initially, I brought all my images in my Nikon D810 Pr, cut it and locked the picture. In this scenario of Pr, I have images of evoke, others to 23.976 and some to 59.97 (for slow-mo) use. I have also several comps Ae included natively in the form of title sequences, a model of VFX Ae where I composed a photo in a clip, an element above the same clip but slightly shifted a couple of images to create a feeling of dizziness and a model of EI where I sped up a clip that was shot too slowly and finally a credit rolling Pr generated at the end. In addition, I have a couple of fades in/out/from black, hold the few images created by using the key on the original film frames. I have a temporary rank in adjustment layers in Pr currently as a quick overview of temp. After the locking of the photo, I coded the image and it imported in AU, where I just finished a synchronization of soundtrack in 5.1 surround to the image. I'm now trying to take the final step, rank in the Official Journal and export and convert to the STC.

  There are several issues I have been struggling with, for which you might be able to offer the future. They are:

  2. What is the best way to get the images in Sg? I tested both export to the option of Sg in Pr using DPX and an EDL export and load native images of MOV among camera options (though, as I have explained above, not all my images on a single video track in Pr, which complicates an EDL export). The h.262 native seems to be a bit slower on the first run in the Official Journal, but once rendered/updated cache, it is real time on my machine. I like the idea of using the original footage, but do not know which option is preferable. A question I have is that the model of EI where I sped up the images, even if it plays properly as a model of Ae on the chronology of the Pr, includes artifacts (i.e., flashing) when exporting of Pr in this way. If I encode in Ae and import that new second gen footage in the Pr, it encodes without the artifacts of PR. would prefer to avoid second gen images if possible, since I'm already starting with h.264 4:2:0.

  Some general thoughts:

  convert your videos for a better standard such as RGB DPX 444 is not really diminish your quality and has little to do with generational loss (I personally would only talk about generational issues when using any type of compression or reduce the color gamut or bit depth).

  In this perspective, will DPX completely once you have run the creative tasks base in various applications makes most things - except for storage needs. I would like to do the math for how much storage you need for the entire project and I would check also this performance of reading on DPX is here - HD, looking to 170 MB/s in trhoughput, and at 24 fps your system will have to endure a time of access by file as ms 42/chassis. On any SSD that will deliver you (but capacity could be a problem), most hard drives will have enough capacity to 90 minutes these days, but performance may be a problem (a small RAID could be the solution here).

  2B. also, I know people do not bring titles, rolling credits, etc. in note final and this in their application of finishing (for example, Pr), but is always the best approach? Are there benefits to be? Would it not preferable (and realistic) to render all the comps to DPX Ae title, pull those and the original film in Sg with EDL, rank and for DPX and re export - import in Pr to add titles, credits and export to TIFF for STC? Or would it be OK just to export the entire chronology of Pr to DPX, including titles, credits and comps Ae as a single series DPX and draw than in Sg and end there? The audio will be added separately as part of the process of creation of the DCP in any case. If I use Ae separately encode any part, what do I need to worry when you export the files, color space, etc., to ensure consistency between them and native images in Sg (Ae being aware of color)?

  There will be other people with more experience in day-to-day practice advice on one of the two approaches.

  I always prefer to keep things very simple - I then push everything through the same pipe and use a trust format.

  With respect to EI, the production should be 709, too.

  BTW, I hope that your film D810 is also Rec.709 - if it is Adobe RGB, there is additional work to come.

  3. how Sg supports RGB data internally? If I insert the Rec708 RGB data, Sg converts to XYZ to perform any processing and then back to Rec709 for Sg monitor? If this is the case, how does he know the original source color space if I didn't say it (to convert)? Or, Sg ignores color space altogether if the calibration is not used, or until you make and apply a LUT, and the work on whatever data RGB is there anyway (that is, the numbers are a few numbers)? It seems that Sg may not care what are RGB data, which is why we use LUTS with abandon (which themselves define the source and target color spaces), unlike the ICC using the mid-range PCS for transformations of all (most) and some information must be known (or suspected).

  SG is transparent - are simply numbers. This means that your AE 709 output and body will look just the same, and it will work fine with a monitor calibrated to 709.

  4. can you explain the purpose and use of the color tab space by default in Sg? I think I have watched all of your videos teaching and cannot recall having seen all the details that helped me to better understand how make us of it (assuming that I need in my particular case). I don't know that it touches in the Official Journal or how to use it best.

  I hope that I will get to write something about this more later this week. As expected, it is a little more complicated - and things have changed since the CS6.

  5. oh, Yes, the conversion of 23.976 in 24 hours! For the best compatibility with festivals, I intend to create my DCP to 24,000 IPS, not 23.976 native of the original images. Do you have a recommendation on WHERE I need to do this transformation? My calendar of current Pr sequence is 23.976. I would like to copy and past the cut into a sequence of nine 24,000 timeline, just convert on export DPX, or leave at 23.976 until exporting of Sg, or...? I created the soundtrack of export 23.976, unfortunately, but I can fix it in AU to adapt to 24,000. I know just as SOUL, Pr, Ae, and Sg all have slight differences, advantages and disadvantages, in their rendering engines and don't really know what is the best to use in my situation. Any ideas on that?

  Yet once, others hopefully have tips that are a little more generated by being in the thick of things - I this post separately on the forum of the SOUL.

  In my humble OPINION, any temporal conversion is troubled. Most players DCP accept on any fps lately, and so I would leave it alone.

  If you do not need to convert, it should be done as part of the final output and as an alternative to the original (you are eliminating the possibility to leave it blank by converting in advance).

  Oh, regarding the thing Qt already mentioned: If you can, avoid using all Quicktimes in CS6 workflow.

  I try whenever I can ;-) BTW, do you know if this flaw affect the use of the Avid DNxHD codec under the aegis of the QT?

  Yes, it's certainly wrong. Some applications decode DNxHD natively, others allow the engine to QT. The latter showed a wide variety of results in gamma, saturation, estimated - according to the version of QT you have and the DNxHD plugin version.

  These days, not a big problem with the CC package - we went to unified and native decoding for applications later.

  CS6 is not really an ideal environment for the use of this codec, so I would start not looking for various workaround solutions that you will find on the internet. There is always something that will make you difficulty, yet one thing at the end (and compromise, you don't want to).

  See you soon,.

  Patrick

• SpeedGrade color not seen in the first - ranking encoding didn't

  Hello world of Adobe,

  I have a dilemma! I was working on a first draft, and everything was fine. I finally go through the process of classification (in Mode of Direct relationship). I close the project and try to export to Adobe Media Encoder, and it failed, twice in different codecs. He kept stopping when it comes to images that have been classified. I opened the project in Premiere Pro, and I can't see a glimpse of what the film looks like with the custom of SpeedGrade looks on. I don't see the preview when it is off. Screenshots are attached. How can I keep the ranking, previsualisez in first and export the video! Help, please!

  Specifications of the computer: Macbook Pro (15, mid-2012), processor 2.6 GHZ, 16 GB memory, graphic card NVIDIA Geforce GT

  

  Looks like you have two LUT applied there... where they come from, and where "they live" on your computer? There were a few LUT which seem to be usable in SpeedGrade, but no PrPro somehow. And a bit the other way around.

  My first guess would be that they are "findable" by SpeedGrade, but PrPro doesn't know where they are... it is one of the things that can still be a little glitch in the process of Direct relationship. I had problems like this before and a copy of the LUT in the PrPro program folder tree, in the Lumetri folder that contains the LUT that ship with PrPro. Then all of a sudden, PrPro could find the LUT.

  Something else if the above does not work... ask for these LUT on a new test sequence, with a "naked" clip with no ranking what, select the icon 'Save a LOOK like' the lower right panel of stacking layer and name them something appropriate and placed in your custom file to Look at this aspect Management tab remove the sequence , and then see the application that resemble your work supports and see if all of the LUT happens in it. Normally, this works very well, although sometimes something in a LUT transfer completely.

  Neil

• First Pro CC export for broadcast HD PAL settings

  Hello

  I'm looking for advice on the best parameters of export to prepare a video for broadcast in the United Kingdom.  I am familiar with the General settings to PAL, but it is the format/codec which I stem.  I looked on the web and on the forum and boards differ greatly.  Many people are suggesting H.264 as the best option to format, but on a recent project, a broadcaster refused to accept this format.  Probably a Quicktime with the H.264 codec would be not just better.  I was recommended a Quicktime .mov with ProRes 422 codec, but it is not available in first (unless I'm missing it!).  Or should I forget about Quicktime and watch a different format?  My images are mostly 2D animated (from Flash).  I used H.264 and Quicktime successfully for YouTube, but the side of things TV confuses me.  I saw advice also apply to the broadcaster, at this stage it is not a, so I want to be able to offer something that is more likely than not to be acceptable.  Thank you.

  Here is a link to the current specifications of the BBC.

  Guidelines - quality service - the BBC television

  Section 4 talks about the delivery of the file spec.

• Three monitors in Speedgrade?

  I work with three monitors in first, Media Composer, Final Cut Pro, even PhotoShop (sort of). No there is no way to use my third monitor in Speedgrade? Currently, I can use my HDMI TV to view the enlarged image, and one of my computer monitors for the interface, but with all the windows of beautiful, invaluable in Speedgrade, it would really help if I could spread out them between both of my computer monitors. Is there really no way to do this?

  Martin

  OS X.9.5

  2015.0.1 release

  N ° more pity, unfortunately. SpeedGrade only supports 2 monitors... one for user interface, one for the program monitor. And you're not the first to hit this... Let's say a decent number of professional colorists run three monitors... large monitor broadcast-tv for the customer looks at a main interface and monitor of the program "small". I've heard say that linking the right external boxes BlackMagic or whoever can't mount this... but it's two points of view the monitor program and only with a graphical interface.

  Please feel encouraged to make a feature request on this... these things are what is read by the types of bean-counter who allocate resources for engineering teams. They "see" never forums user here.

  https://www.Adobe.com/cfusion/mmForm/index.cfm?name=wishform

  Neil

• Codec required - DNxHD 145 MXF 1920 x 1080

  I'm starting to provide images for a broadcaster, who gave me a laptop to produce clips (using catalyst prepare). After using the first Pro (CS6) for a number of years and also need to work on the clips I produce another reason (sports highlights), I really don't want to have to use 2 machines and 2 packets of different softwares - especially when all I need for catalyst is a rather simple copy / paste into Prem Pro.

  The problem is the broadcaster that he need the codec of DNxHD 145 MXF 1920 x 1080 - 50i

  It's not (that I can see) a Premier Pro standard codec. A few similar, but they do not provide the quality required for broadcasting (and their FTP servers check the correct codecs used, otherwise, they reject the upload).

  Doing some research, I can this Download of Codecs Avid 2.3.7 page which I thought would be the answer. Download the software (and run it of course!) and should the DNxHD 145 to appear, but he has not (looking in the MXF OP1a format). Read that I may need to disable the Premier Pro, so actually it and re-recorded, but no luck.

  Any suggestions? It could save me hours a week, which would be very much appreciated

  OK - found the DNxHD under Quicktime format and had a response of the diffuser.

  Quote "you must use the DNX120 option. The guy who designed the catalyst used only American options for labeling of codec. When dealing with materials 50i catalyst actually creates a DNX120 file. There are only 8-bit options for 120 and it's very good that you are shooting only 8 bit video. Do not forget that we need a MXF not a MOV. »

  So, it was going so well until the last sentence. No idea how to do it in a wrapper XMF?

• When speedgrade will become an Adobe application?

  I understand that Speedgrade belongs after CC, but when this actually becomes a usable Adobe application that fits into the style of Adobe applications.   When it will actually be easier to export and results of without tearing hair over and over again?   When we will be able to open, load a project from a friend and I have to not spend 5 hours of communication on this subject.     When Speedgrade will not feel as I use BACK on a Linux PC with the keyboard disconnected?   All I'm asking is simply to add some basic functions to open the user interface; click right, maybe a file menu, a sort of dialogue of preferences, perhaps a keyboard shortcut, Hey why not allow clips to be selected and then loaded from disk with a dialog box while your to him? Maybe a kind of explosion of windows to customize the interface?  Or Hey, a historical system and discard what is not so linear, through in a few shots of this story too?   Also, why not make the tabs of the snapshot and a tab looks more easy to navigate and stored with the project?   And a very simple here, allow to select the names of the looks and snapshots and continue to name them, even when the mouse leaves the name text box?

  Not trying to upset anyone, but certainly trying to light a fire on the interface, it takes hard work.

  Anyone know if there are plans to make it better?  I'm debating whether I should keep holding in the hope of change or investing time in the will?

  First... and I'm not being facetious here... PLEASE fill most of them using the Adobe bug/feature request page.

  /Feature bug report form requires Adobe...

  https://www.Adobe.com/cfusion/mmForm/index.cfm?name=wishform

  They can I actually connect those (unlike problems on these forums) and they are used for when the bean counters decided how long they're going to budget for and where this time will be spent engineering. "Squeaky" bugs & features not available/non-working with the largest number of positions it get a better shot of the fixing of budgets. Just the way they work.

  You are probably aware of the history of this... an autonomous ranking with a single interface curiously app started as Iridas, the only people to use as dedicated colorists pro. The kind of people who use a short 'surface' or the keyboard for all that. So... the user interface has been alleviated clean & lean... that works as long as you use a surface and have all memorized keyboard shorts. Doubt I'm EVER going to have a tangent or a surface of other workbook to work but have worked in some of the shorts keyboard.

  Adobe bought the underlying color-science/engineering who can do amazing things. I was one of many trying to encourage them to bring along a bit where the user interface & will work with other modern applications. Which is part of why I'd like you to fill out these required reports!

  Over the past years, they worked on the Direct link process where Sg uses a project file PrPro (rather than it's own project IRCP file format) working on material directly from PrPro. For situations where it does not work, it's great. However, on most computers is not as fast/good to work in mode D - L compared to native mode, and of course a lot of tools are locked D - L mode. SG is not allowed to do anything to change a PrPro chronology, such as trimming clips or even add layers ranking to a sequence... you must add PrPro adjustment layers, then use additional layers of ranking multi-clip-covering in the Official Journal.

  And Yes, Sg natively to try & export job is a bit old in touch... you can 'get', with the most robust codecs, it was built to use, but it is certainly not... clear... What is each options. And sometimes it seems you can't do X, but yes, you can... but only if you make the choices are in this area and back to the other box, now X is available... uh, huh?

  You can name and rename the looks, I do it all the time. It's ANNOYING that you cannot adjust the size of thumbs show more names/titles looks integrated and craft. You can click a name, and then use the right scroll arrow on your keyboard to see what else is out there. Why can't you just hover over a clip & get the full name in a pop-up? F/r asking this too!

  I have "d suggests to use the help system to find the list of short films of keyboard, it is useful. However, it would be MUCH more usable you could modify it any way you can with PrPro & AE. Feel free to f/r, this one also!

  They say they put a LOT of time engineering this last development cycle of the Sg team in the creation of the new color in PrPro workspace that you can guess uses the 'engine' of the substance Lumetri off Sg. supposed to be the next cycle will get a lot of development time for the internal problems of the Sg.

  Neil

• Error opening file on all native projects SpeedGrade 2014/2015

  OK, it's frustrating and infuriating.

  I had to have my computer re-formatted, installed Win7 Ultimate and tried to get to the place where I 'was '. But at the present time, if I'm in 2014 Sg (build 8.0x141) or the new generation of 2015, I can't get any format/codec images to display a thumbnail in the browser "Desktop" of Sg and nothing added to the mounting area section just says "error opening file".

  Both will be run between a link Direct process.

  What the...! ?

  Neil

  I eliminated the ability of my media Speedgrade browser to show images trying to simulate (without entering the stage to add anything to the timeline)

  my media browser has been set to "sequences in the selected folder" and even if everything was showing according to the normal and me thinking as "sequences in the selected folder" was not what I had and going through the set up/view/format by default/coils/color space default - my media browser deleted

  Then, I chose "sequences of selected folder + subtree" and I found the ability to see my sequences of dng

  now I will go back to "sequences in the selected folder" and the files reappear

  I see not an MP4 Player until I select "all files", but I can put it on a timeline without error

• huge list of first pro broadcast issues

  Adobe Hello!

  I know that this is a very long post, but it is the result of a compilation of questions, we discovered for 1 year of intensive use in professional broadcasting company. www.Sette.com

  many are related to legends and others to VTR

  I'll be at NAB 2015 show to inquire about those first team in person.

  . audio video player with aja pickling is OK.
  audio .stripping with BMD is not good (error vtr), but works with fcp on the same machine!

  . output card bad when sdi timeline in a video file and 29.97 at 23.98. Should be so easy to do conversion software...

  . out of bad stories about broadcast decoder when timeline + video fps. 23.98, hoppefully final export to mxf 29.97 embedded format is good.
  but the tc of 29.97 ndf after this conversion. How he df?

  . Although the legends (from the dedicated video track) are good on the reading of the SDI - after edit on tape, they are scrambled to the top. We must use a converter SDI to SDI broadcast evertz to have acceptable result.

  . many abandoned executives both edit tape with captions. Removal of legends track problem. It is a BIG problem for us, since we have to go back to an external encoder...

  legends .import fails for different types of xdcam mxf; Some are not imported even in present in the file.

  . CSC still appears as @29.97 in project info, even if 23.98 SD

  . First always think and import a CSC file with ': 'as NDF mode.'; ' are mandatory for the df mode... but there should be an option for that.

  . time code within CSC displayed by first badly converted the "discovery of the first" tc CSC... ex: My CSC is 23.98; first will show all legends with a TC 29.97!

  . Adobe SHOULD COMPLETELY manage 708 cc encoding and decoding including mxf and mov, transcode them forced to scc608. as today the first can encode only 608cc; Regardless of the legends throw us in. and more, there is no way to determine if the captions are present in 608, 708, or two tracks.

  . bug with certain fees xdcam convert mov or prores mov: first detects no more audio tracks in the timeline (duty to completely remove assets and re-import)

  bug sound, but with legends not displayed. Reimportation and the will appears

  . Media Encoder; What differences track audio mono discreet vs?

  .MEncoder: how about an 'auto open in order' for the code just file?

  .MEncoder: problem with white bars to mov xdcam50 + legends. Problem with encoder which shows white bar on the right in qt7 drive. If you use apple compressor

  .MEncoder: Please add sidecar SCC 23.98 FPS

  . First long captions decoding on import mxf or prores. Improve, show titles of legends but only decode on request during the washing/game; or to detect the CC follow the ASK ' you want to import captions? It will take some time. " or allow to get rid of import subtitles.

  . sync settings does not keep the keyboard shortcuts. Or the workspace. ..

  . Why 2 audio mixers, 1 which will really change volume on export (and other do not, not even the application effect audio volume), and 1 other that make the pan on the export

  . How to set up true audio compressor with max 10 dB, no wall, but smoth cutting curve

  . Export GPU. When will you use it to encode really export with GPU? Today only a (not shown) things are accelerated by the GPU, as effects and resize. Speed of light SEE telestream vantage

  720p59.94, .mxf with CC: first dislikes 720 p resolution, not able to output any SDI of VAN. Do 1080i timeline and scale up the image complete. (a soft hack crossconvert 720 p - > 1080i)

  . AJA capture: default value is stereo mode, how to change to mono?

  . export to file and export to tape. A MISSING big converting TC function, so that we can convert ndf df. 29.97and 23.98

  4: 3 images anamorphic .import is obliged to badbly full frame, so you read it wrongly metadata (correct 16: 9 by illustrated by mediainfo)

  . bad display of subtitles with characters accented as 'Christmas' (don't become 'no el' with an extra space), but its OK in QuickTime format. Search for uppercase characters as "Noel2.

  .bluray export settings. Fake 9/16, as a result the blue disk 4/3 on television. Specify the 16: 9 on tsmuxer again. During the conversion with other software like rhozet or vantage, this issue is not present.

  .MEncoder. Rename "decompress" audio for "uncomp PCM.

  .MEncoder MISSING remap audio export, so we should be able to keep the source file with 8 tracks, and then select the 7 and 8 for the stereo only for export

  . First. What directly mxf xdcam capture/record? Same thing, but cineform thing you do now with cineform codec?

  . First. export to tape.  Always 3 or 4 executives shifted forward on a VCR. The case of small "video delay" does nothing. Not sure same behavior aja and bmd. It is a BIG problem, it need to constantly measure the lag on VTR, and then adjust the TC to export for the 2nd time in the band. We can go up to 17 frames lag!

  . Custom sequence wrong set framerate: when I create a xdcam50 1080i with 12 sound and water drop in a pal25 or 23.98nts produce... and ask 'set the file sequence'-> Jutters bad result. I ve to create the sequence in the native framerate first and then import video, so it's good!

  . In timeline 23.98; at the point of the edict of dialogue band will change AUTOMATICALLY! In fact, it is converted to 29.97 FPS on impact "record"! And also, the offset is 3 pictures instead of 4-6 in 29.97

  . When you export mxf to qt proreslt 1080i 1080i media with captions;  first add a few extra 'TDC' and 'cdt2.

  (This is due to the upgrade of first November 2014. it has been without these bad characters before)

  .exporter mxf 720p59.94 with captions.  There are incorrect;  many tools such as rhozet and nexio server can not read normally!

  . How about automatically adjust the sequence mediastart startime? So obvious. (for the first file is passed in new chronology)...

  When sync us the settings of cloud; Media export presets are NOT synchronized. Launch of mencoder apartment; and sync from there.

  Hi fredericalain,

  Please copy and paste the report into a report bug here: http://www.adobe.com/go/wish

  Thank you

  Kevin

• Footage looks different in SpeedGrade and when rendering

  Hello

  I'm having some trouble to know what my file look like really.

  Is there still a bug of QuickTime that cause QuickTime show an offbeat image gamma or otherwise-screwy?

  5dMkII h.264 .mov files

  The same file in QuickTime and VLC seems different. VLC version is darker and more red.

  This file in SG seems even darker and a little more red.

  Rendering outside of SpeedGrade at ProRes422 (automatic setting of the colors on the SG switch) happens almost SpeedGrade display, but a few points more red and a little darker.

  Made from SpeedGrade at ProRes422 (automatic color adjustment turn off in SG) much lighter and paler than SpeedGrade display.

  Same results with ProRes444.

  Why these look different?

  Later MacPro Tower

  Latest OS X

  64 GB OF RAM

  AMD over-pants D700 6144 MB

  2 x LaCie 321, calibrated monitors with Spyder3 Elite

  QuickTime 7 Pro or QuickTime Player comes with OS

  All the read files on the same screen

  Thanks in advance for any help.

  In general, it depends.

  You are not user & manager of any other computer in the world... even if sometimes they try and make you so. The best anyone can do is run a calibrated ' shop' and know that you deliver good technical content. Test it on others systems calibrated and more monitors broadcast if such are available somewhere you know. For clients with specific needs, TEST. Send a test above and let them check... for the most TV use is crucial. To say adds on the screens of movie theater shows, arrange to take a sample before you 'open' for the day and played on their equipment on the screen... see what he looks like, adjust & retest if necessary.

  For web use... it is a total crapshoot to off the mark. The best you can do is once again, see that your system is calibrated as accurately as possible. Set preferences for video players on your computer to use the calibration of your system rather than their interior, which will ALWAYS do something weird to the signals. But not only unpredictable... odd to a computer. If your system is fully calibrated, your work on the web if all goes well on average pretty decent.

  For web-delivery, even when... initial customers to check that they are happy with the results that you give them. If they want on their computer, it is more blue and... you know it means it'll really be BLUE on many machines... perhaps by showing them on your laptop as it looks good as-is on a different system or some sort of instant customer education will have to arrive. I heard a lot of complaints that the customer required someone do something too dark... and then complained to them because they got from the comments of others that the material was too dark. Love it, huh? Customer demanded that they change more dark even if they say it would be too dark for most computers... and then groused to them that it was too dark. Right. Oh frabjous joy.

  More in the video lounge here and on a few other sites... the discussions on stupid customer requests sometimes were a riot, and sometimes something almost cry on. As a portraitist 30 stills photographer, we had the same thing sometimes clients... apply to all simply print their pictures GREEN or something. More of who we met, some... didn't us. There is an interesting variety of brain and eyes on the planet...

  My experience is that just do my best, it looks pretty darn good on TVs and computers to my client. Some go one-way or another a bit, but in general, it works fine. And check if you have a setting in the system controls or controls Qt & VLC for color managed system.

  Neil

• Broadcast legal levels during the reduction of scale

  Someone else has problems when downscaling HD to SD content before providing them to the broadcaster.

  Whenever I do my luma levels get pushed to broadcast without danger, and my place is rejected. The only solution I found is to use Resolve to any reduction of scale, this is not an ideal solution.

  I'm on a Mac Pro 5.1, using first Pro CC 2014 20141 version (Build 8.1.0 (81)).

  Workflow is the following:

  1. Change in the chronology of the HD (Apple ProRes 422 or uncompressed YUV 8 bit)
  2. Choose export-> media
  3. Export settings configuration. (Format doesn't really count. The problem has nevertheless.)
     • Format: MXF Op1a
     • Video codec: IMX 30 PAL
     • Look PAL D1/DV widescreen 16:9
     • Go to maximum depth
     • The value of the zero start timecode
     • Use the maximum Render quality

  I always double check my results in ScopeBox and internal counters first. Everything looks perfect:

  

  When the export is completed I check again with ScopeBox, and now the file looks like this:

  

  And he is dismissed because of illegal broadcasting values.

  Everyone sees the same thing?

  Best,

  Peter

  Thanks to Mariusz Wawa for the following solution.

  Disable "restore maximum quality" and do not use acceleration GPU Mercury engine.

  This seems to solve the problem.