I don't do much in VFR ... only a little bit, when I actually use my Samsung S7's 'camera', which is rare for anything I'll actually edit. Those are mostly "family shapshots" just in video form. So ... my use isn't even an issue here. It's not for my routine use of PrPro I "speak". It's for the greater editing community as I see it at this point in 2016. First, I want to be clear: your knowledge of so many technical things far exceeds mine. Your knowledge of editing alone far exceeds mine. I always read your posts diligently ... and typically re-read them several times, trying to ingest as much of the detailed information you post as I can. I learn from you ... and value the gift enormously. You are one of the finest resources on these Adobe forums in so many ways. What IS an issue at this point, is that there are two very large and very professional industries, one based on gaming and a similar but even more massive one based on general streaming content. The gaming industry uses streaming, of course, but not all streaming use is gaming by any stretch. The amount of streamed "original content" now far exceeds the "studio-broadcast" content. When I've watched the international gaming competitions that my sons have requested I do with them ... what I've seen are say two teams, one in a studio in Korea, the other in a studio in Japan or the US or somewhere ... the play-by-play and color announcers (just like US sports b-casts) are maybe in Australia, and the whole thing is streamed live around the world, to large audiences and often very much for paid viewers only. After the b-cast, the entire "program" is re-edited for streaming-on-demand. I see no difference anywhere in that scenario from say broadcasting the NFL or NBA games in the US, and re-streaming them around the world. Except, of course, for the fact that they did this while linking three to four studios on different continents ... live. The studios used are clearly high-end pro gear and staffed by highly trained/skilled/experienced operators. They handle what is inherently a difficult technical setup working from two, three, or even 4 continents simultaneously. And do it flawlessly. Both the contestant teams and the commentators and such get paid one heck of a lot more ... full-time at this ... than I do. (Some of the prize money ranks with US Pro golf tournaments ... wowza!) I have no apology whatever for considering any comment saying the streaming industry isn't "professional" as showing a sadly dated and totally obsolete concept of pro video work as of this point in time. It wasn't so really even a couple years ago, but ... that has thoroughly, completely, and irrevocably changed. I'm 63 ... and view this with amazement. But it really is here, it's huge, it's professional ... and ... it's the future. Talking with some "streamers" at NAB ... their "native" home is VFR. Every "deliverable" they ever do is VFR, and they've no use for standard CFR codecs, as those are not welcome on any internet system anywhere in the world. It's very easy to find "streamers" at NAB ... a great percentage of the floor-space of the tradeshow is of course taken by streaming content makers, streaming satellite/cable operators, and of course ... all the "stuff" of hardware and software to run their streaming content through and over. Within a couple booths of the big Adobe booth at NAB were a couple streaming-based companies hawking their gear & software. And virtually all in the streaming industry think the assumption that they should shoot & edit in CFR, then re-code to transmit, then ... when re-editing, re-code to CFR just to go back to VFR for re-transmitting ... is downright silly. When talking politely. They can be pithier about that in conversations of course. And I can't see where they're wrong. I'm not a tech wiz in this area ... but I know enough of tech to know that what's impossible/difficult/silly to try or work within at one point can suddenly become normal, easy, and ... doesn't everybody do it like this? And that in a short time. There's been several generations ​ of that in my working life. Neil
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