[Ben Balser]

Here’s the article that clears it all up.

https://www.cined.com/apple-creator-studio-cined-exclusive-interview-reveals-the-future-of-pro-apps-licensing/

[Ben Balser]

OK, so here’s clarification:

You can go subscription OR stand-alone, you have a CHOICE.

Subscription gets you all the apps, PLUSE “premium content”.

Without subscription, you have limited access to “premium content” but have access to all “functions/features”.

Curious that the Photos app wasn’t included.

And based on the history of other “subscription” apps, the subscription model doesn’t ensure any change in quantity or quality of future updates.

[Ben Balser]

Have you contacted Adobe tech support yet?

[Ben Balser]

Nothing is better than Topaz, though some others are catching up quickly with AI tools now.

[Ben Balser]

Indoor shots and outdoor shots should sound different. Why do you need them to sound exactly the same? Isolate the voice in both clips, EQ the less clear one.

[Ben Balser]

Mads, I work broadcast, have for over two decades, think I know what I’m talking about. MXF was popular at one time, not so much any more. And no, broadcast is not regional with codecs like you state. It’s pretty standardized across the board now.

[Ben Balser]

Drop your 50fps clip into a 25fps Timeline.

Select the clip in the timeline.

Go to the Retime menu and select “Automatic Speed.”

What this does is uses all original frames so nothing is dropped, nothing is artificially added. It just uses all the original frames and conforms them to the Timeline’s fps setting.

[Ben Balser]

4K H.264 is really high quality. I’d never deliver in a ProRes codec. So few devices/broadcasters/producers will use it for public display or broadcast. Stick with that they’re asking, 4K MP4, the quality will be great, the MP4 codec has come a long way over the years and is pretty decent quality and bullet proof these days.

I recently retied from TV production and will tell you that MP4 video is great quality for delivery. Use the 4K MP4 they’re asking for.

I currently produce 3 local TV shows as a semi-retirement job. I shoot with HEVC and love it. I edit and deliver HEVC and MP4 mixed, and deliver really great result that my clients love.

[Ben Balser]

Broadcasters are asking for MPEG3 and MP4 and H264 video formats for broadcast. I’ve yet to find anyone in broadcast who considers ProRes a broadcast format. Of the stations I’ve worked with and for over the years, none would know what to do with a ProRes file and reject it. Personally, I”d do this in Resolve. Until Apple includes a proper, professional Audio Mixer with buses and realistic output control, I’ll never fully accept it as a professional level NLE. It’s too isolated and dumbed down.

Anyway, get the specs sheet from the specific broadcaster. All TV stations have one. Deliver strictly according to it.

As for splitting up all your audio, you’ll be using Roles as explained. Then on output, you can control what gets included and what doesn’t. FCP is actually (as stated) the worst NLE for doing audio work inside of. But basically, you’ll assign Roles for each audio channel needed for output. Then in the Inspector, configure your channels for each clip as needed. Then in the export window, configure the Roles as you need.

[Ben Balser]

Consider that broadcast HD and 4K is done via MPEG streaming, which is more highly compressed than most codecs in use. And that most camera manufacturers use their own tweaked version of MP4, so each is slightly different. It’s not all about codec. Just saying…