Forum Replies Created

Page 7 of 126
  • Mads Nybo jørgensen

    April 2, 2026 at 8:04 pm in reply to: iphone videos are causing nightmares

    Hey Paul,

    Last year I on PPro v2025 went through a project from hell, that might as well have been shot on an iPhone. A mixture of Windows 11 and NVidia did not help either.

    It would be really helpful if you could share the format of the video files that you are working with?
    Keep in mind that MP4 is only a “container” and that there might be more codec information behind it.
    Although, if iPhone source, you may be working with ProRes files.

    Also, what version of v2025 are you using?
    In recent years Adobe has thought it clever to release new versions of PPro, without proper testing, and I suspect in some instances knowingly with the knowledge that it is not stable.

    Is it all of your video files that is not working in Adobe Media Encoder?
    Is there another one that will load?
    If so, transcode to ProRes and see if that works?
    (Yes, I did read that you tried Handbrake).

    And, the difficult question: Has anyone actually seen your source videos playback without any problems with image or sound?

    If you have it, it might be worth putting it into Topaz Video AI?
    https://www.topazlabs.com/topaz-video

    WinX Video AI has a video conversion module:
    https://www.winxdvd.com/winxvideo-ai/convert-video.htm

    MyFormatConverter has from time to time helped me out as it does not think too much about the conversion:
    https://myformatconverter.com/en/

    I could go on, but some of these suggestions might help you.

    Atb
    Mads

  • Mads Nybo jørgensen

    March 31, 2026 at 4:49 am in reply to: Premiere Exporting BluRay

    Hey Billy,

    You’ve already got plenty of good advice here.

    I would add that you should consider using Topaz Video AI to “upconvert” your old footage.

    With regard to burning your video onto DVD or BluRay you might want to look at WinX DVD.

    I use it to back up data and programs to, so I haven’t done enything that requires menu making and programming. This also caomes with upscaling and sharpening software.
    https://www.winxdvd.com/specialoffer/pack-deals.htm

    Hope this helps.

    Atb
    Mads

  • Hey Julian,

    Reading your post, it seems like you are looking for help with Adobe Illustrator?

    Sorry, this forum is mainly around Artificial Intelligence, as in A.I..

    You can post on the COW Illustrator forum here:
    https://creativecow.net/forums/forum/adobe-illustrator/

    Hope this helps?

    Atb
    Mads

  • Hey Kelly,

    VEGAS has been on a journey.
    I’ve got the latest version, just because it is nice to have, and I got a good deal.
    BorisFX plugins are already in use inside VEGAS.

    And it is only recently that BORISFX also took control of MAGIX Sequoia, Samplitude, and Music Studio.

    Whether it is smart for BorisFX to enter the NLE market is another question.
    Although adding to the concern is that BorisFX also took Media100 under its wing. Notsure what is happening with it these days. It is a MAC only software:
    https://www.media100.com/

    Whereas VEGAS is PC, so maybe that makes sense.

    The bigger question is: Why do it, as there are many A.I. editors, even Youtube has one, that are entering the market.
    Whilst at the same time the bigger NLE’s, such as Davinci, Adobe and FCPX are bringing tools to their core base functions that, in some ways, are putting some 3rd party plugins out of business.

    Or as we have seen recently, both Adobe and Apple have recently acquired third-party plug-in/motion graphics providers, which is already making their way into their NLE’s whether the professional version, or non-professional with a heavy dose of A.I. help.

    Maybe this is it; BorisFX needs to read the market and be ready for that “Strategic Inflection” point.
    (Andrew S Grove wrote a book on that subject, “Only the Paranoid Survives” – one of my all-time favourite business books.)

    Until I heard this news, my money was that AVID, under new management/ownership, would do a takeover of BorisFX as quite a few of the high-end post-houses advertise “AVID Ultimate with BorisFX” + the audio side of BorisFX would fit in with ProTools.

    Although Native Instruments, which in recent years took ownership of iZotope, is currently under administration, and would at the right price be very attractive as a takeover proposition.

    Just a few thoughts. There are likely to be loads of changes to come.

    Atb
    Mads

  • Mads Nybo jørgensen

    March 6, 2026 at 2:00 am in reply to: 10-bit HDR TV for monitor?

    Hey Matthew,

    Sounds like you are most of the way there already.

    Just keep going in that direction; you are doing fine.

    I often have this discussion with my clients: That the output will look different depending on what screen you are watching it on. Last year I had a somewhat painful experience working in the client’s living room, where we had 3 different screens with 3 different looks…

    My advice to my clients is always depending on where they want to distribute their film to, is to go to a cinema with a DCP file. In my neighbourhood of central London (East), I have several local cinemas that will generate the DCP and hire their theatre out in off-peak times for private screenings.

    Obviously if this your “new” career and you want to make it your main “bread and butter” you will want to offer a high technical standard. That will cost you money to invest in, and it will also allow you to charge a higher fee per hour.

    If you are set on doing it from your studio, rather than buying right now, you could hire in a monitor or projector for the “last mile” of delivery. And, build the hire cost in to the cost of project delivery. This could work better on a long-form project where you would do a base grade + the rest, before the client turns up for the final screening on the “big” screen.

    I might not have got your location right, but it is worth doing a Google Search for local hire companies. Even if they don’t have a 4K/8K monitor for HDR grade, they might know someone who does. Or be interested in investing and offering it as a service.
    One quick search gave me this result:
    https://azcine.com/index.html#aboutus

    This might even come with the “unfortunate” side-effect of them being able to refer clients to your services.

    BT. 2020 (Rec. 2020) is not full HDR, for that you will want to be Rec. 2100 which enables higher contrast and brightness.

    Atb
    Mads

  • Hey David,

    Echo Craig on his comments.

    Adding that Brie has just published this article:
    https://creativecow.net/soundmarket-launches-18000-tracks-of-real-music-by-award-winning-composers-for-editors-and-post-professionals/

    From my own point of view, I use Envato, and sometimes search for HipHop, rather than Contemporary or similar – call it a luck dip, if you like 🤩

    HumbleBundle is my secret go to:
    https://www.humblebundle.com/bundles
    They have bundles that runs for 20-days, in support of various charities.
    In Software section, they often have a music package.

    Might not be to your taste this time around, but at times interesting. Two bundles currently on offer:

    https://www.humblebundle.com/software/maximum-chill-music-bundle-royaltyfree-ambient-lofi-piano-and-meditation-music-software

    https://www.humblebundle.com/software/complete-cinematic-game-audio-bundle-software

    Although it might say “game music” on some of those bundles, keep in mind that the gaming industry is in market value overtaking what we are doing in the Video, stream and TV Industry.

    Only problem with the above, is that you now have too much choice, and may spend a week finding the right track. Which may well be the first track that you listened to…

    Atb
    Mads

  • Mads Nybo jørgensen

    March 3, 2026 at 2:44 am in reply to: 10-bit HDR TV for monitor?

    Hey Matthew,

    As someone who has got a Davinci with Mini Panel parked at home, I hear you.

    You don’t mention much about your kit and the kind of programming that you want to get stuck in on.
    No point in going the the full way on monitor, if your processor and SSDs/Raid can’t keep up.
    Same if you are only working in REC709, rather than REC2100.
    Better off just getting started grading, and the rest will follow naturally.

    A “smaller” monitor for accuracy by your desk, maybe coupled with a smaller monitor running Nobe Omniscope, is a good starting point.

    You can still have the big screen in the room, and if you get a decent one, you should be able to make a match to a smaller screen.

    Don’t forget furnishings and wall paint, + remove daylight – you probably already know this, please accept my apology if I sound patronising.

    For the bigger screen, OLED are dropping in price fast as MicroRGB is the one to watch out for.
    LG and Samsung have already promoted their screens:

    LG “Small print”:
    Certified for Triple 100% Colour Coverage

    Micro RGB evo is the only TV with 100% coverage across three standards—BT2020, DCI-P3, and Adobe RGB—ensuring optimal accuracy for everything from HDR Cinema and digital editing to next-generation display technologies.”

    https://www.lg.com/uk/ces/micro-rgb-evo/

    At 115′ you might “need a bigger boat”:
    https://www.samsung.com/uk/tvs/micro-rgb/r95h-115-inch-rgb-vision-ai-smart-tv-mre115mr95fxxu/

    For “standard” HD/4K, my favourite go to is EIZO:
    https://www.eizoglobal.com/products/coloredge/index.html

    A few of our colleagues also put the 6K Dell UltraSharp 52 Thunderbolt Hub Monitor – U5226KW into the top of monitors for colorcorrection:
    Colour Gamut

    • 99% DCI-P3 (CIE 1976)
    • 100% sRGB (CIE 1931)
    • 100% BT.709 (CIE 1931)
    • 99% Display P3″

    https://www.dell.com/en-uk/shop/dell-ultrasharp-52-thunderbolt-hub-monitor-u5226kw/apd/210-btfw/monitors-monitor-accessories

    Just an opinion, hope that it helps?

    Atb
    Mads

    PS: Note how I mentioned that OLED is dropping in price – some come with 5-year warranty, and will do well in your livingroom or whereever you retire it to.

  • Mads Nybo jørgensen

    February 27, 2026 at 12:51 pm in reply to: Exporting 8 Channel Stereo Audio for Broadcaster

    Hey All,

    In case anyone do a search, I am just adding one comment to this conversation, which is:
    When delivering a MASTER (Digital, or otherwise) always ask your client what their specifications are.

    For the bigger broadcasters, and streamers, they often have their specifications listed on their website, easy to find if you search for it.

    IMPORTANT: All of the below will be subject to change as new file formats, delivery and display systems are introduced.

    Headliner explanation courtesy Dolby Professional support:
    https://professionalsupport.dolby.com/s/article/Overview-of-Dolby-Atmos-Master-File-Formats

    IMF IAB (.mxf)

    IMF IAB is an MXF file that carries audio and metadata in an Immersive Audio Bitstream (IAB), which has been standardized by SMPTE. The advantage of IMF IAB files is that they fit into IMF file containers, enabling the packaging of picture, subtitles, channel-based audio, and Dolby Atmos audio in a single IMF. This can be very useful for delivery, quality control, and archiving for large OTT streaming services.

    A few examples:
    Netflix (Again Headliner, as it is much more involved than just the media “container” used for delivery):

    https://partnerhelp.netflixstudios.com/hc/en-us/articles/7262346654995-Post-Production-Branded-Delivery-Specifications

    2. IMF Specifications 2.1 Packaging

    All deliveries to Netflix must be compliant to either SMPTE ST 2067-21:2016, SMPTE ST
    2067-21:2020 or SMPTE ST 2067-21:2023 Interoperable Master Format (IMF) Application #2E. Packages containing immersive sound must additionally comply with SMPTE ST 2067-201:2019 Immersive Audio Bitstream (IAB) Level 0 Plug-in.

    Netflix IMF Packages should be created directly from the color timeline out of a capable color grading tool OR from an intermediate mezzanine asset. IMF Packages must be delivered in the highest quality and resolution, including High Definition (HD) and Ultra High Definition (UHD). Netflix may explicitly request other resolutions.

    BBC Studios pdf: 51 page guide for delivery:
    https://www.bbcstudios.com/media/6914/contentdeliverybook.pdf

    Page 20:

    6.2 HD File Specifications
    Video Source Digital: HD-SDI
    Video Codec Profile Apple ProRes® 4:2:2 (HQ)
    Container MOV (All files must have .mov extension

    Page 22:

    6.5 UHD File Specifications:
    Video and Video
    Codec
    Format Standard ITU-R BT.2100 (3840 x 2160 25P)
    Profile HDR Format Hybrid Log-Gamma
    Reference White* 75 IRE (code value 721)
    Colorimetry ITU-R BT.2100 (as defined in ITU-R BT.2020)
    Colour Space 4:2:2 YCRCB
    —-
    Structure Intra Frame (I-Frame) only
    Container MOV – QuickTime
    Format Apple ProRes 422 (HQ)
    Bit Rate 700 Mb/s
    Encoding Profile High

    Page 27:

    6.12 IMF
    BBC Studios will only accept IMF packages for specific titles and with pre-agreement.
    If you would prefer to deliver an IMF package, please get in touch with your
    programme operations contact to discuss the possibility further. An IMF package may
    be requested of production by exception when key co-producers and / or
    commissioning partners have a requirement.

    BBC – Different to BBC Studios!!!

    https://www.dropbox.com/s/sjsjlf4qtm68xc3/TechnicalDeliveryStandardsBBCFile.pdf?dl=0

    Technical delivery standards

    The BBC requires all Network television programmes to be delivered as AS-11 DPP files.

    More information on AS-11:

    https://www.thedpp.com/specs/as-11

    AS-11 UK DPP

    Developed in conjunction with UK broadcasters, the AS-11 UK DPP file delivery specification provides a format for completed programme deliveries (‘air-ready masters’). It is based on the MXF OP1A format with AVC Intra Class 100 compression for HD, and IMX at 50 Mb/s for SD. It includes a minimum set of requirements for Programme Editorial and Technical Metadata, based on EBU Core. Most UK broadcasters’ programme delivery requirements are based on AMWA AS-11 UK DPP.

    Amazon Studios:

    https://portal.amazonstudios.com/hc/en-us/articles/15986851525147-Delivery-QC

    Digital Cinema Packages (DCP)

    A Digital Cinema Package (DCP) is utilized for Theatrical distribution and exhibition. A DCP is a collection of audio, image, and data files. AMS Post Executive will advise when a DCP is required and provide the format specifications.

    (<strong jscontroller=”zYmgkd” jsuid=”JhCmAd_1g” data-processed=”true”>Key DCP Standards & Formats:

    <ul jscontroller=”mPWODf” jsuid=”JhCmAd_27″ data-processed=”true”>

  • <strong jscontroller=”zYmgkd” jsuid=”JhCmAd_2a” data-processed=”true”>SMPTE DCP: The current, modern standard for digital cinema, supporting higher frame rates and more features.
  • <strong jscontroller=”zYmgkd” jsuid=”JhCmAd_2d” data-processed=”true”>Interop (Inter-Operating) DCP: An older, deprecated “de facto” standard that was used as a stopgap before the formal SMPTE standard was fully adopted.
  • <strong jscontroller=”zYmgkd” jsuid=”JhCmAd_2g” data-processed=”true”>JPEG 2000: The required video compression codec.
  • <strong jscontroller=”zYmgkd” jsuid=”JhCmAd_2j” data-processed=”true”>MXF: The wrapper format used for audio and video.)
  • In addition, Amazon has a whole page with nearly every possible delivery scenario:

    <b title=”Asset Technical Specifications” data-title=”Asset Technical Specifications”>Asset Technical Specifications (Post-Production):
    https://portal.amazonstudios.com/hc/en-us/articles/15986845319323-Asset-Technical-Specifications

    MXF appears 46 times on that page.

    .mov appears 25 times.

    Disney ABC Television Network deliverables: [Feels a bit outdated, so there may be a newer version]:

    https://files.disneyadvertising.com/MediaKit/ABC-Brands/HD-Tech-Specs.pdf

    As of April 28, 2022:

    The file delivery format for delivery to ABC is MXF for playout on ABC’s Nexio server farm. Details about the file format are specified in section 2.5.7.

    2.5.7 Encoding
    2.5.7.1 All MXF files should be encoded XDCAM-HD at
    a data rate of 50Mbps
    2.5.7.2 All audio should be recorded uncompressed,
    at a sampling rate of 48KHz and at a
    preferred bit depth of 20 bits

    PBS 86 page pdf “Producer’s Handbook”

    https://www.pbs.org/about/producing-pbs/bento-api/filer-file-download/392931/

    DIGITAL FILE DELIVERY SPECIFICATIONS
    ProRes HQ
    File Format: Quicktime (.mov)
    Size Estimate: ~ 1GB per minute of video
    Timecode starts at 1:00:00;00
    No closed captioning.
    One (1) video per file.
    Video Stream
    Codec: ProRes HQ
    Frame Size 16/9: 1920 x 1080
    Frame Rate: 29.97 Drop frame
    Video Standard: NTSC
    Scan Type: Interlaced (Upper Field First)
    Video Stream BitRate: 220 Mbps
    Video Stream BitRate Mode: CBR
    Audio Stream
    Codec: PCM (Little Endian)
    Audio Stream BitRate: 1.4 Mbps
    Audio Stream BitRate Mode: CBR
    Number of Audio Channels: 4 (Stereo 1&2, Mono 3&4)
    Sampling Rate: 48 KHz
    Bit Depth: 16 bits

    PBS Distribution: GLOBAL TECHNICAL SPECIFICATIONS

    https://pbsdistribution.org/wp-content/uploads/2024/09/PBSd-GLOBAL-TECHNICAL-SPECIFICATIONS-September-2024.pdf

    3.1 Accepted Video Codecs
    High Definition (HD): Preferred – Apple ProRes 422 HQ
    Acceptable – DNxHD MXF OP1a 175 10bit or higher resolution (mxf wrapper)
    Ultra High Definition (UHD): Preferred – Apple ProRes 422 HQ or Apple ProRes 4444 (mov wrapper)
    Acceptable – DnxHR HQ UHD or 4K UHD IMF extension 2 (mxf wrapper)
    When delivering UHD content, a matching HD file must also be delivered in compliance with the above HD codecs.

    End note:

    This is just a small selection of streamers and broadcasters.

    Please, please, please keep in mind, that if you do not follow their specifications, your program delivery are likely to be rejected by their Quality Control process. This in itself is expensive.
    And much more expensive if you miss your deadline.

    There is a reason for why some of these documents runs past 50 pages in volume.
    And I have only covered a fraction oin this post, which is mainly related to what video codec/wrapper you should look out for when delivering.

    Happy to help here, or away from the public.

    Hope this helps?

    Atb
    Mads

  • Mads Nybo jørgensen

    February 26, 2026 at 6:43 pm in reply to: still using windows 7

    PS: This might help you, but at your own risk.
    And, if asked, you did not get it from me 😀

    https://archive.org/details/vegas-pro-14_202308

  • Mads Nybo jørgensen

    February 26, 2026 at 6:41 pm in reply to: still using windows 7

    Hey Chris,

    How annoying, feeling your pain.

    Vegas Pro 17 appear to be the last version that may work on Windows 7 (According to Google A.I.).

    However, where you find one of those, with a valid licence is another matter.
    Looking at eBay, that looks like a place for knock-offs.

    I agree with you on the issues around Windows 11, but I don’t have a choice as I am on the latest version.
    With that in mind, have you thought about installing something like the free version of Resolve Davinci on your Windows 11 partition?

    If Vegas is your thing, you could also download the latest version of Vegas Pro 23, which you can subscripe to on a monthly plan.

    For version 14 and 17 I did do a search on GitHub, but did not like the options available – keep in mind that you might be able to download the installer. But it might be “modified” to take advantage of security holes in Windows 7.

    Sorry, I know that this is not what you are after, but unless you purchase a “second-hand” version, that is going to be an uphill journey.

    Hope that this helps?

    Atb
    Mads

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