[Mads Nybo jørgensen]

Hey Jean,

No worries, often like you, we are all here scrambling around in the dark, which is what helps finding solutions 🙂

I am a great fan of of WYSIWYG, but that is not always what happens when you throw fileformats and encoder together to ruin your piece of art.

Just for clarity, you are blowing up HD to 4K H.265, whilst running the new file at 100 Mbps?
That is a lot to ask of the original format.
What happens if you do a ProRes export out instead of H265?

Initially I would look at what player that you are using to play the exported file back on?
From your screenshot, would it be right to assume that you are using the same screen for both “versions”?

What happens if you import the exported file back into Davinci, as in does it look the same or like the way that you want it to look (without adding any grade to it)?

And, have you tried to export the file as a HD MP4 file running at 10Mbps to see if that maintains the look that you want?

Hope that this helps?

Atb
Mads

[Mads Nybo jørgensen]

Hey Wendy,

If it works on your system, and it works on your colleagues MacBook Pro, then short of being in the actual room yourself, there is nothing that you can do to fix what has already happened.

Best thing is to ask the place that did the play-out for their file specs, and maybe inquire as to what kit that they are using.
Question to ask is whether your colleague handed over the file, and if the person doing the playout, dragged the file into a thirdparty software like OBS or similar – should not have made a difference, but it could have done. Same goes if the video plays at fps, and the audio plays in milliseconds in units. Or, maybe someone took it up on themselves to transcode the video to another format, like DCP or similar.

As you were not there, you can’t possibly guess what might have gone on.

But lesson to learn is either to ask for specs from the people playing out the file, or bring your own player (MacBook Pro or similar).

Atb
Mads

[Mads Nybo jørgensen]

Hey Wendy,

How frustrating.
Did you do spot check on the file before handing it over?
Always, a good idea to do.
More to the point, the people who showed the file, should have spot-checked whether it was in sync before arrival of the audience.

However, if it’s in sync on your timeline, it should have been in sync on playback file.

Did you render direct to the USB drive?
Are you PC or Mac (Guessing PC, but would be good to know your specs)

You might have thought it finished, but managed to disconnect the drive before the file closed (unlikely, but it does happen).

CBR (Constant Bit Rate) at that kind of size file is always a good place to start.

Maybe also supply a medium size file, in case the system can’t hack it.
Buffering in the background of playing back the file, could potentially be an issue.

When it comes to Digital Cinema, there is a number of places that it can go wrong, including to what kit was between the play-out device, and the projector and speakers.

And, QuickTime player is no more – even Apple has discontinued it.
H264/H265 and/or ProRes is the formats to use these days. Unless you have a format that you prefer and know is working.

Hope that this helps.

Atb
Mads

[Mads Nybo jørgensen]

Hey Shantal,

Sorry, just tidying up my inbox, and had saved your question.

“commercial Directors ,freelancers, specially focused on tech commercials, like camera, washing machines, phones, tvs, etc ads.”

I think that you answered your own question, as in that freelancers can not be freelancers if they are only working (affiliated) with one company.

What you need to consider is the market that you are making commercials for?
What budgets there are for the commercials?
There is a big difference between making “product” videos for Social Media, and that of cinematic adverts for Cinema, Broadcast and Streamers.

A good place to start would be online directories, the kind that you would pay £200+ for the print version of, before the internet became a thing.
One example of a list:
https://www.productionhub.com/directory/profiles/commercial-directors/intl/germany
Sometimes, if you see an advert that you really like, you could phone the company and ask who the director was?

You could also cast your web wider and look at East Belgium, Austria, Switzerland and further away.

Hope this helps?

Atb
Mads

productionhub.com

Just a moment...

Just a moment...

[Mads Nybo jørgensen]

Hey Gavin,

This might help, although not copying in the whole page:
https://policies.google.com/terms

Licence

Your content remains yours, which means that you retain any intellectual property rights that you have in your content. For example, you have intellectual property rights in the creative content that you make, such as reviews that you write. Or you may have the right to share someone else’s creative content if they’ve given you their permission.

We need your permission if your intellectual property rights restrict our use of your content. You provide Google with that permission through this licence.

What’s covered

This licence covers your content if that content is protected by intellectual property rights.

What’s not covered

• This licence doesn’t affect your data protection rights – it’s only about your intellectual property rights
• This licence doesn’t cover these types of content:
  • publicly available, factual information that you provide, such as corrections to the address of a local business. That information doesn’t require a licence because it’s considered common knowledge that everyone’s free to use.
  • feedback that you offer, such as suggestions to improve our services. Feedback is covered in the Service-related communications section below.

Scope

This licence is:

• worldwide, which means that it’s valid anywhere in the world
• non-exclusive, which means that you can licence your content to others
• royalty-free, which means that there are no monetary fees for this licence

Rights

This licence allows Google to:

• host, reproduce, distribute, communicate and use your content – for example, to save your content on our systems and make it accessible from anywhere that you go
• publish, publicly perform or publicly display your content, if you’ve made it visible to others
• modify your content, such as reformatting or translating it
• sublicense these rights to:
  • other users to allow the services to work as designed, such as enabling you to share photos with people that you choose
  • our contractors who’ve signed agreements with us that are consistent with these terms, only for the limited purposes described in the Purpose section below

Purpose

This licence is for the limited purpose of:

• operating and improving the services, which means allowing the services to work as designed and creating new features and functionalities. This includes using automated systems and algorithms to analyse your content:
  • for spam, malware and illegal content
  • to recognise patterns in data, such as determining when to suggest a new album in Google Photos to keep related photos together
  • to customise our services for you, such as providing recommendations and personalised search results, content and ads (which you can change or turn off in Ad Settings)

  This analysis occurs as the content is sent, received and when it is stored.

• using content that you’ve shared publicly to promote the services. For example, to promote a Google app, we might quote a review that you wrote. Or to promote Google Play, we might show a screenshot of the app that you offer in the Play Store.
• developing new technologies and services for Google consistent with these terms

Duration

This licence lasts for as long as your content is protected by intellectual property rights.

If you remove from our services any content that’s covered by this licence, our systems will stop making that content publicly available in a reasonable amount of time. There are two exceptions:

• If you already shared your content with others before removing it. For example, if you shared a photo with a friend who then made a copy of it, or shared it again, then that photo may continue to appear in your friend’s Google Account even after you remove it from your Google Account.
• If you make your content available through other companies’ services, it’s possible that search engines, including Google Search, will continue to find and display your content as part of their search results.

Other links of interest:
https://support.google.com/earth/answer/9477965?hl=en&sjid=14075784136721507530-EU#zippy=%2Cintellectual-property%2Clegal-removals

https://earth.google.com/intl/earth/

I would suggest that you don’t remove any of the Google logos, and maybe give a credit to them.

But otherwise it appears to be free for all.

Hope that this helped?

Atb
Mads

policies.google.com

Google Terms of Service – Privacy & Terms – Google

Google Terms of Service – Privacy & Terms – Google

[Mads Nybo jørgensen]

Hey Glenn,

As you are coming from a 2013 iMac, any of your 3 suggested choices will work for you.

If budget is an issue, I would for now prioritize memory and storage – 1TB SSD should be enough, but if Apple allows you to put in a 2TB SSD, then that would be better.
You can always “hang” 4TB external SSDs on the back of the unit.

(Drives and Cloud Storage can get really expensive, particularly if working in 4K/6K. And, as video tapes does not exist anymore, this is a hidden expense that no-one talks enough about in the economy of Post Protduction and archieve.)

Sadly, the Apple “eco-system” is made to lock you in and not allow you to open the box and add or swap components.

Again, coming from the 2013 version, think functional and work-horse for your needs.

And, if this is succesful for you, put money away weekly/monthly/each-job for the next “upgrade”.

Apple makes money out of making new Apples (Macs) – whatever you shoose from their shelf was old yesterday. But with your 2013 box, you are the proof that Apple can last the distance.

Atb
Mads

[Mads Nybo jørgensen]

Hey Kasia,

Thank you for the tutorial.
I got the Omniscope, and can highly recommend.
Loads of interesting features, including for QC.

And, it is a fraction in cost of back in the day when I paid over £ 10,000 for a HD Hardware scope.

Atb
Mads

[Mads Nybo jørgensen]

Hey Mark,

Thank you for the compliment, I just muddle through past perserverence and surrender, eventually there will be a solution.

Out of interest, when starting PPro, is it running at the same sync (frame-rate) as the Targa 3000 card?
And just for fun, what happens if you connect a sync generator to the Targa 3000 card/breakout box?

I run a Blackmagic Mini Converter Sync Generator, which feeds my Betacam SP and Blackmagic Ultrastudio 4K – although both of those are slowly dying.

But if you add sync to the board, that may just wake it up in Windows?
Unless you’ve already tried that?

Keep hunting, it might even be a dip-switch somewhere stuck in the wrong place, or even in the middle.

Atb

Mads

[Mads Nybo jørgensen]

Hey David,

Thank you very much. I shall spin up the Mac Mini M1 and see what happens.

Atb
Mads

[Mads Nybo jørgensen]

Hey Mark,

1 card failing is possible, 2 not so, depending on where you got them from.

I was never a great fan of XP, and preferred NT.

From your description, I suspect that you know more than I would ever get to know.

Only two suggestions, is to try in the boards in different slots (if possible) or a seperate PC altogether.

And, maybe strip the unit of HP drivers, and re-install them.

Found this page, which suggest that all the HP drivers are still accessible:
https://support.hp.com/vn-en/drivers/hp-workstation-xw8000/96495

Atb
Mads