[Mads Nybo jørgensen]

Hey Mark,

I feel your pain, I really do.

Vimeo is its own worst enemy – somehow that company never managed to fix the “engine room” – not sure whether they sail on wind, or coal, but useless in most regards.

If it is only for video edits reviews, then those sites comes by the dozen.
I use Motion Array, as it has other goodies.

Hightail is one of the early ones, although I fell out of love with them as they killed Yousendit and all the good there was to find in that product.
https://www.hightail.com/creative-collaboration

Finally, if you are on twitter, you might want to “buzz” this live account and ask for help:
https://twitter.com/emerywells
Do copy in @Adobe too – as they are likely to blame for moving their destructive way of upgrades from AdobeCC to Frame.io

Don’t forget to point them to this discussion on the COW.
Maybe it will jog their memory about serving the client first, and not the Corporate ego.

Just saying…

Atb
Mads

hightail.com

Collaboration software for creative reviews | Hightail

Creative and marketing teams rely on Hightail for better, faster creative review and asset management. Easily share files and collect feedback and approvals in one place. Start a free trial today.

[Mads Nybo jørgensen]

Hey Terima,

I can’t speak for Autodesk, as they lost my business when their subsidiary Discreet “sold out” the *edit community. These days I suggest that anyone interested in animation, go Blender first.

With regard to Adobe, that is a bit more difficult when it comes to Russia. As there are several reports around that although Adobe is not selling, it is alleged that they provide their software for free to existing users in Russia.

https://ain.capital/2023/05/31/russians-adobe-licenses-free/

I have searched, but not been able to find anything from Adobe denouncing these allegations.

But do observe, once again, that Adobe has shut down the Cloud, in Creative Cloud for all freelancers, SME’s and students. So it makes sense that we will have to pay for both the failed takeover of Figma $1Bn burn, but also pay for the other “give-away”.

In direct response to your line:
“the Russian-speaking community mainly uses pirated versions, which complicate the conditions for creativity and work.”

I don’t know if you yourself are Russian, and that is not intended to provoke you, but only to consider that you are mainly concerned with the Russian-speaking community – of which there are many, including across Europe (& Ukraine).

If users outside of Russia are making use of Adobe’s alleged generosity, you should call them out to Adobe.
If there are Russian based users, you should trace their money, as their access to international transfers should be restricted. Again, whatever company is doing the money transfer. Do call them out, or report them to the banking authorities.

I personally do not use pirated and/or unlicensed software and media assets. Simply because the fine would be large, and the embarrassment even larger. I know of many people that do use pirated content, but I can not be spending all day calling them out, and end up with no friends.

However, from my work with one client, I know of all of the security going in to protect the media assets. And with that knowledge, I do explain to those who needs to know it; That they might think that they got away using pirated content, but sometimes they are let through the net, in order to catch a much larger group of people, including those they shared the stolen content with…

In short, the problem is widespread. But the cost of ownership v what you can earn on using legit software is negligible, so no point in getting caught with your pants down when you can do honest business.

Atb

Mads

ain.capital

Adobe renews licenses for users from Russia for free

It recently became known that Adobe automatically renews licenses for Russian users free of charge. According to the Russian mass media, the company is doing this 'to preserve the loyalty and support of its users in a difficult period.' Russian … Continue reading

[Mads Nybo jørgensen]

Hey Mark,

Last time I worked on Frame.io it performed like a better looking DropBox, with less flexibility and functionality – and, that is not intended as a compliment to DropBox…

With Adobe closing the Cloud down in Creative Cloud, to push freelancers, SME’s and Student onto “3rd party” apps, like Frame.io. Their engineers have picked up a bad habit where if Adobe PPro crashes, you need to switch off all of your extensions and plug-ins, because then PPro will work.

If you are running Frame.io inside Adobe Premiere Pro, you may want to switch it off (Yeah, I know, but that is what Adobe will advice you to do). Once you are done, switch off your Mac for 1/2 hour – maybe go for a walk and “lift your leg” on all of the local fire hydrants, growling loudly at local Adobe retailers.
When you get back home, switch on the Mac, reconnect Frame.io in PPro, and see if that works?

Alternatively, have a go at Apple, because they like to break things from third-party software suppliers.

If none of it works, at least the growling will calm you down.

Atb
Mads

[Mads Nybo jørgensen]

Hey Dan,

Sorry, I never asked if you are matching the footage to other cameras?

Having thought about it, back in the day Avid Symphony was the on-line tool to use on Avid for Grading – have you got it, and have you tried it?

If you are matching the iPhone to a specific high-end film camera chip, you should consider getting Cinematch – I’ve purchased it, but need to install it. It will work with Davinci, and if you look at the list of supported “cameras”, iPhone is on it + it comes with a free trial:
https://www.cinematch.com/

BorisFX Continuum has got a ton of filters, that also works on Avid MC. You can get a free trial and/or rent for a month:
https://borisfx.com/products/continuum/?product=continuum&host=avid&purchase-options=new-annual-subscription

Hope that this helps you a little bit more.

Atb
Mads

cinematch.com

CineMatch

CineMatch

[Mads Nybo jørgensen]

Hey Jonathann,

Sorry, but we need more info as to your specs, and what codec you are using, and where the film will be shown.

My gut feeling is that you need to go DCP. although some codecs do come with 8 channels of audio.

But first, it is worth checking whether your Channel Mapping is set-up correctly?
https://helpx.adobe.com/uk/prelude/using/clips-channels-tracks.html

Do keep in mind that even if you set 8 channels out, if the codec used can only carry 4 audio channels. Then you will only get 4 channels, regardless.

Atb
Mads

helpx.adobe.com

Working with clips, channels, and tracks

Learn about using advanced techniques while working with audio clips, channels, and tracks in Premiere Pro.

[Mads Nybo jørgensen]

Hey Dan,

Yes, there is some people that suggests going through Davinci.

Although it might fix the immediate problem, IMHO it creates a new one where you break the link between the original source footage, in relation to the final master. As in a undefined future it might become impossible to link back to the original.
+ 500Gb is just way over the top too much.

I found this video which might help you – I’ve not watched it the whole way through, but looks like it covers the bases.

https://youtu.be/ezwiYJdECGc?si=2e4JfuHz-9GjAQH1

Atb
Mads

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[Mads Nybo jørgensen]

Hey Rafael,

If this is a “one-off” edit, I suggest you do it manually.

However, if this is a returning job, then you should consider scripting inside After Effects as that has the largest depository + many more expert users who can program it.

There is also the option of looking at stitching your “edits” together using scripting in Adobe Media Encoder. As in when you export the edit out of PPro, when certain conditions are met. The Media Encoder will batch it out for you – that is the theory.

There is some guidance here:
https://ame-scripting.docsforadobe.dev/

But as suggested, sometimed it is done faster doing it manually, all depending on the amount of clips you need to export.

Atb
Mads

ame-scripting.docsforadobe.dev

Adobe Media Encoder (AME) Scripting Guide & Reference — AME Scripting API Guide 1.0 documentation

Adobe Media Encoder (AME) Scripting Guide & Reference — AME Scripting API Guide 1.0 documentation

[Mads Nybo jørgensen]

Hey Dan,

I don’t know if this will help you, but there is a discussion going on over on the Premiere Pro forum that you might want to look at:
https://creativecow.net/forums/thread/contrast-2/

creativecow.net

Contrast - Adobe Premiere Pro - Creative COW

Contrast - Adobe Premiere Pro - Creative COW

[Mads Nybo jørgensen]

Hey Walaa,

We need a COW forum just to answer that question, as every three weeks or so someone asks about the “best” PC and/or Mac without doing a quick search.

Sorry, that sounded harsh. But the answer won’t change, as “best” is a question of your needs and how deep your pockets are?

“Dell Alienware core i9 64 G” is not a terrible choice, although I have never used it.

But it is not the “best” as in that you could go for 128 GB Ram – and that small suggested change is without asking about the video card, SSD, screen resolution and size + length of warranty.

If you want an excellent answer, start with “reverse engineering” your final out-put, back to the start of the project. And then consider what is most important to you?

There is a big difference between working on “basic” 2K motion graphics, to tracking video and compositing 8K projects.

One thing that I can suggest with certainty: Get a BIG monitor!
Or, maybe a portable break-out monitor.

Where a PC [laptop] is really good is the swap out and upgrading components.
If your Alienware is what you can afford now, and it can do the projects that you want to do.
Check: If later you can upgrade it as you get more adventurous on larger projects.

Hope that this helps?

Atb
Mads

[Mads Nybo jørgensen]

Hey David,

You are doing a pull-down from 23.98 to 29.97 or a 59.94 sequence.
You are also “down-converting” the quality of your original PreRes file.

As I’ve not seen the footage, my gut feeling is to suggest that you pop your 23.98 fps master file into a 1280x720p 59.94p XDCAM EX 4:2:0 sequence. Then export is as MXF.

Afterwards you have to watch through for motion flicker and/or glitches.

But it might be worth asking why you are using a “camera format” in a lower resoltuion to export to?
Also check whether the 59.94p format in reality is 29.97?
Where each frame is split into two “fields” that are scanned as a progressive format – in other words, you are still running 29.97 fps, but some manufacturers back in the early days, liked to call it 59.94 because of the way the scan worked.

As said, if you export it out of a timeline in PPro, and it passes the QC test, then you don’t have to worry. Please, do remember to turn on the speakers when watching it, unless your film is mute.

I am know that there is other, and smarter people here who can give you some insights.

Atb
Mads