This is an observation of problems with AME 2018 exports after many hours of paintstaking work late at night to try to produce a H264 Based Blu Ray disc through Encore 6, but I suspect other authoring SW would have same issue.

I know Encore 6 is a legacy product and out of support - but AME version 2017 encoded H264 blu ray files which always worked fine.

There is also a thread on Encore Community Forums about this issue where other people have found same problem as well.

Today I see no way to produce a Blu Ray H264 based disc with files encoded from Media Encoder 2018. This newer version has caused problems.

Whilst Adobe may feel Blu Ray discs are defunct and we should use Streaming ... this problem with Media Encoder 2018 needs fixing as in some cases we need to produce Blu Ray discs of our project/work.

Adobe Engineering Team : can you have a quick look at the difference between H264 encoded Blu Ray files from AME 2017 to AME 2018 please. Why is it broken ..and fix it please.

Feedback welcomed.

When creating an Encoding preset, not all the installed LUTs, that show in PP, appear in the Lumetri Look / LUT dropdown. Further, I have been unable to import 3rd party Panasonic LUTS using the "Select" option in the dropdown. Apparently, the only compatible LUTs are in a legacy .ITX format? As a result, I am unable to apply a simple V-Log-to-Rec709 LUT to dailies footage that I want to transcode for client use, nor am I able to add such LUTs when creating proxy files. None of the supplied LUTs appear to have been designed as technical LUTs to convert log footage to Rec709.

I'm seeing a tremendous number of problems on long transcodes with camera cuts in the dailies. I'm working on a doc feature including a lot of Hi8 and MiniDV tapes. The source tapes are captured in long chunks, often over an hour. Within this are camera cuts, crash recorded blank tape spots, etc - the usual amateur issues. The source clips are all perfect on import. However, most of the transcodes (to ProRes 1080 @23.98) have serious problems as follows:

- clips can be truncated, i.e. can be 30 mins or more shorter than source clip.
- clips have internal problems. The audio continues correctly, but 20 mins of video will disappear. The means from this point in the transcoded clip on, the clip is completely out of sync, and the picture is permanently missing. Resulting clip is shorter than source.

Most of these problems seem to occur on the above mentioned recording errors, but not always. Often in the middle of a continuously recorded conversation, 20 mins will have just disappeared.

The result is a nightmare as I have to go back and create new, shorter Quicktime sources from the master source clip, then transcode these until I can get a clip that works.

Why does the same mistake with the PAL format specification repeat for several generations of your product? Why PAL you have a different pixel aspect ratio than it actually is? This constantly creates problems in the work! We make videos in Full HD format, and then create a master for the air, including in the PAL format. Full HD 16x9 Square Pixels = 1920x1080. PAL Widescreen 16x9 square pixels = 1024x768. PAL Widescreen non-square = 720x576. 1024/720 = 1.4222, not 1.4587, as indicated in your programs, and therefore you always have to artificially edit these values with your hands and stretch the picture. PAL 4x3 Square Pixels = 768x576. Non-square 4x3 = 720x576. 768/720 = 1.06667, not 1.0940 as indicated in your programs. When will you fix this mistake!?

I believe we can all benefit from having a nice sound effect that indicates when a Render has Failed or Completed successfully.

It is incredibly frustrating to come back to my computer to see that devilish Red 'X', shamelessly telling me that AME decided to spontaneously abort mission without warning. Now this is, obviously, very frustrating and can ruin your entire mood and workflow. But, what if it didn't?

What if there was a little more satisfaction in successfully rendering a composition? Now here me out, I'm sure most of us have played a game or two at some point. A very popular video game in today's era is a game called, "Super Smash Bros." In this game there is a very iconic announcer with an extremely satisfying voice. There's a bit in the game where he says the words "Failure" and "Complete", based upon the players success on finishing a level.

Below I will link a sound bit from the Nintendo 64 version which happens to be my favorite announcer voice. I will also link a video made by an After Effects user who played the game. The skit accurately displays the amount frustration that the game can induce. I think it is also a good analogy to what it feels like when Adobe Media Encoder has a render failure.

If we had these sound effects in Adobe Media Encoder as indication of Render Failures and Completions I think users will very much appreciate it and enjoy the software much more!

Super Smash Bros Nintendo 64: https://youtu.be/P02YSj7A4s4?t=90

Rage Video: https://youtu.be/2fJf5bVDOug

AME CC 2019 is taking 180 hours to render, while the normal would be 6 hours. HOWEVER there is a CATCH: This slowness came while the computer was NOT being used - overnight, in screen saver/standby mode. When I came in the morning and started using it, the 'Remaining' info in AME started to drop dramatically. Now it is about 78 hours to finish, and dropping. Doing some calculations here, it might finish in the 6-7 hour estimate, as long as I don't let the computer alone, I'm assuming. IMPORTANT to note: I did the same thing yesterday, same video, same computer, same overnight rendering. It took 6 hours. The difference was AME 2018.