I never used H264 on QT because the quality is poor and size could reach x10 times over AME's H.264. When CC2014 came and took my native H.264 in Ae, and my yellow U.I color, I did not update and only a year later, when the U.I looked better, came to terms with using AME for mp4 (and the blue color) and it worked well and actually made me work faster since I could render delivery formats and keep working. It's not as fast per render that's true.

A year ago when AfterCodecs came out, I immediately purchased and sent all my feature requests to Antoine the developer. Using that in Ae for fast, small size, great quality mp4 like the old days.

Now with many codecs missing, a part of me is relieved for narrowing the options so I could focus only on a few. 

QT Png was my best friend because I rendered graphics on alpha for short durations and had to deliver lossless online - it's the best compression/quality ratio you can get. But it's the slowest.. now that it's gone, after some testing, I switched to AfterCodec's ProRes 4444. They say in the FAQ you should not use it for broadcast, but I give my stuff to editors and it seems to work just fine. Small size, lossless quality, and 10bit.

Animation still is the fastest and reliable 8bit option and in a news station I work on, that's what the use to transfer graphics to the editors. 8 bit is fine since there is no color correction or any other further image manipulation. 

When I need to send video from Ae to further processing (color mostly), I got used to DNx and my editor's work with it too. I also send AfterCodec's ProRes422 HQ preset at times. 

For Digital intermediate, I might use Cineform4. 

For sequence, I shifted to using DPX over PNG (I may have waited way too long to do that)

Mantaining compatibilty with old projects can be annoying, but I keep old versions of Ae. CC2017 is my backup version for these things if I need to open a project that uses legacy codecs. I might transcode if I want to use the new features. 

That's about it. I feel I am covered.

On Fri, 4 May 2018 at 5:07 Steve Oakley <AE-List@media-motion.tv> wrote:

thats where we where going with MOX which remains in beta status. documented, no patent encumbrances, source code available, already uses industry *open* standards like MXF as container.

endless conversations adobe should create and release basically this, so a community took this on. really what it needs is testing, maybe some tweaks, and better adoption.

otherwise h.264 and Mpeg2 are as close as we get to universal codecs. h.264 iframe 10/12 bit 444 is certainly respectable.

as for legacy codecs… many of the big ones are supported like DV25 / 50 /100, Mpeg2, Animation. PhotoJpeg, Mjpeg A and B would be welcome additions. after that, who knows. do we really need or want to see cinepak movs of some corp video from 1992 ?

the warnings have been out for YEARS this time was coming. I converted a lot of stuff a couple years ago, and even in the last few months found and converted a bunch of old mov files. that said, SD on a 4K screen is a postage stamp of bad quality, never mind a few odd 320 movs. those I actually deleted. even the broadcast stuff I had from the late 90’s now kind of doesn’t matter much and isn’t so watchable anymore… well you want to see 98 degrees first national TV appearance ? thats was on my reel but I don’t think its so entertaining anymore, nor do I show it or most of the stuff I worked on even with big names in it from that era just because it looks pretty crappy now.

S

> On May 3, 2018, at 7:45 PM, Stephen van Vuuren <AE-List@media-motion.tv> wrote:
>
> Adobe and other media companies (Avid etc.) should have pressed hard that the core codecs used in media files from Apple, Dolby, Microsoft etc. should have some type of open source decode/encode for future digital preservation.
>
> We are not just talking about client files on commercial jobs which is a pain. There is massive amount of material (films, television shows, documentaries, personal memories) created with those codecs and combine that with the poorly thought out rush to dump physical media means there will be likely be a greater loss of original masters than in the flammable film days.
>
> Only people who've thought to output films to DCP format (JPEG2000 is archival quality and open sourced or a physical non-encrypted format - non copy protected bluray is about as good as what can be had there as other than 35mm film, there is no high resolution, high color depth physical media.
>
> A ProRes or Avid file is not a master - those codecs could well suffer the same fates in 10, 20, 30 years.
>
> This is a huge stick our head in the sands problem that will never go away, only get worse.
>
> -----Original Message-----
> From: After Effects Mail List <AE-List@media-motion.tv>
> Sent: Thursday, May 3, 2018 8:23 PM
> To: After Effects Mail List <AE-List@media-motion.tv>
> Subject: Re: [AE] updating and compatibility
>
> Apple can be especially uncool. Dolby is on my list too.
>
>
> On 5/3/2018 8:02 PM, Steve Oakley wrote:
>> blame apple then as they are the gulity party in killing off QT32 and an codecs which are implemented via QT32. Adobe is simply keeping their app current wiith what the OS can, or in this case can’t deliver.
>>
>> S
>>


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