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Yes. And in a limp wristed chai latte kind of world... it exudes heaps of confidence... right over the top actually. My vote for 'post of the year.'

Ha! Good one... but the weather stinks. However, the British sense of humour certainly goes a long way to adding the sunshine to an otherwise uncomfortable situation.

There is a growing body of evidence, and though I'm not writing this in stone, but for me there is one main factor contributing to the rising intolerance: the internet. It isolates us from one another and has lead to a breakdown in our personal communication skills. Moreover, it allows us to register for accounts where we contribute our ideas, but often with no tangible results, so we may feel hollow afterwards further which only further exacerbates the problem. For sure there are many positive aspects, but I was raised before the rise of it and somehow appreciate the slower and gentler pace without it. Of course, riding behind this growing intolerance is the slow erosion of the middle class. Transnational for most of the past 20 years, social media/ email was a way to keep up with folks but I dropped this a few years ago, telling the few people I consider friends that I'm reachable by phone only... which has worked in limited amounts. To be honest, I've been looking for a way out for a long time... the plan is to sell off and hit an old world funny fucked up country that I love, get a fishing rod and a big bag of rice, marry a jungley buck-toothed woman and get back into the seasonal rhythms I knew from childhood... maybe even a mobile phone to check the seasonal rhythms on. Let's see.

I wonder what David Bowie would say about all this? Webrunner, stop for a second and lean in a bit. Listen amigo, anyone can say anything on the 'innernet.' But this doesn't make it true. As in film, the trick is to not tell, but to show.

In an army jeep? Somebody get this guy a hero sandwich!

Man you always default to those same tired old lines "I've lived so long, got so much cash, drank so much booze, took so many crazy huge steaming shits etc. But the world has moved on. Yes you are entitled to your experiences, however bizarre. But I dare you to go spend some years living in Europe (away from the insular American military brat pack that was most probably a huge part of your overseas swaddling cloth) I will absolutely guarantee that you will have miserable time. Of course you will say "I don't want to go live in Europe...I'm happy here in Idaho or Ohio." but that does not negate the fact that a guy with your values would take a shit kicking outside your currently safe confines. I'm trying to be polite here amigo And for the record... I also find many Canadians fucking lame. But still.

They you go with your generalizations again. I can appreciate your good ole' boy style Webrunner...but you seem to be the perfect cliche of myopic flag waving ignorance. I wish you well in that. Ugh.

I certainly wouldn't want much to do with snowbirds taking holidays in Florida either. Moreover, I can imagine these poor bastards probably thought you were trying to slip something in their watered down sugar drink

I'm sorry (actually I'm not sorry) but.... generalizations only tell a fraction of the story... and actually make us look fat, stupid and wearing an eyepatch. On the national level, the Canadian government is mandated to dispense funds to outfits (Telefilm, Canadian Media Fund, Film Tax Credits, Arts Councils etc) with the idea to not only to offset the massive footprint of their neighbour south, but to 'reflect Canada to Canadians'. Better still if the works travel well. Moreover, those in the know certainly appreciate the revenue it generates in GDP, but certainly understand that nations who do not support the arts, sacrifice their imaginations on the cruel alter of reality.

Adobe is also using some of these same sensors is their top corner office guys to help them come off with more personality... ultimately it made them more, cagey. "I'm guessing you'll be moving to Resolve after your current project then?" - Yes. And though some have said that it's not actually tuned for the long form doc, I trust that Black Magic will continue to innovate. And I think I'm speaking for all of us here when I say that I appreciate disruptors. Despite their shortcomings, Black Magic seem to have the fat cats in their cross hairs... and I certainly appreciate this! I'll be keep your The Resolve / Colour Grading Resource Thread in mind going forward... thanks for that. Lights out here and hats off amigo!

Solid info and break down... big thanks on this Kye. Absolutely. And in the case of my shifting the project forward from CC2014 to CC2019 - and that CC2019 wouldn't import much of the same media and maintain the links - just being able to edit again seems a luxury. And actually, in going forward, the great wish is to finish this film off in the next months before Adobe gets the chance to implement their latest technology in CC2020 which can be seen in full effect below. The help number is on the bottom of the unit... and when dialed, rings the hospital in which the caller was born.

Thank you Shirozina. To your point on banding, I had also done a quick test at one point with ProRes HQ and found it to be near identical to the original. Small differences started creeping in with ProRes and moreso ProRes LT. Didn't think to checking banding. Never made it to 4444 territory... seems it seems crazy to have to hike it up like this to hang onto those subtle gradations. Are there other codecs that can do things better? My limited understanding on transcoding from a highly compressed (mpeg2, h.264, avchd, etc) 8bit file to a larger 10 bit (ProRes) file sort of had me thinking that most, if not all, of the original file info would be retained within the confines of that more robust codec... and so there would be even less chance of banding. Lossy, I guess not. Somewhere way out there in all this, I still try to remember that this stuff is somehow connected to story and storytelling Thanks again folks.

Interesting, and good point KnightsFan. Thanks. And truth be told, when I transcoded the original files to ProRes... I actually cut the fat out out of 'some' of them... so as to save on hard drive space. So the time codes probably won't line up anymore with the originals. But I'm not too concerned about this right now because I only did that with material that might play a minor role in the story. But I hear you on your point and it's a good thing to keep in mind... especially if one is thinking of generating proxies after the editing starts. Good to have another opinion here. Thanks amigo. "... it's a non issue at best, and a necessary evil at worst. " - I like this... and am going start applying this phase to the often absurd and random events regularly unfolding in my life

Hi Shirozina, thank you for jumping in here. The truth is that I'm living way out on the bright side of nowhere here and do not have agency that I can go to for important questions on how to best proceed while editing, so I appreciate your question. And hats off to Kye for always going the extra distance in keep this forum rolling in helpful and insightful ways. Towards your question, Kye is right in saying that the media I generated (ProRes) in Resolve is to be used in PPro. My situation was that my 2013 Macbook Pro + PPro 2014 would always edit the 18k files (mpeg2, h.264 and AVCHD) natively. But when I moved this massive doc film over to CC2019, many of the the mpeg2 and h.264 files would no long import into the project or would go offline. I spent 4 weeks trying to get to the bottom of it and finally decided to convert everything to ProRes. No issues since. But you do raise a point that on image quality loss when transcoding and wanting to retain the best image quality. With the completion of this feature doc, and in the interest of keeping the image quality up, I imagine it is just a matter of pointing the ProRes files back to the originals ('hoping' they relink) then exporting. Correct? Anything I might want to know or keep in mind in going forward? And actually, if I export a finished ProRes file from transcoded ProRes files, is there image degradation? I did some comparisons of the transcoded files to the originals and there was, ever so slightly, some differences. Most noticeably in the chroma. I used 5DtoRgb, AME and Resolve. 5DtoRgb gave the best results, but when applying just a small amount of Denoiser, the files were 'pretty much' the same. But in saying that, cinema verite/ direct cinema is largely a game of chance - even moreso in difficult places and situations - and this means one is beholden to the images captured in often 'less than ideal circumstances.' It would be good to ring the best out of our images as possible. One thing for sure is that I'm excited to move towards the next big undertaking with 'new' technology!

Thank you Kye, for the extra insight, as always. And you know, the more I fool around with Resolve... the more it comes of as a very well thought out tool. I trust that this is the same for many. Onward!

I'm placing an entire folder of clips (h.264) onto the timeline, cutting out the fat, and then exporting as ProRes. Sometimes I cut the fat out of one clip in multiple places which means that in the end I now have several smaller clips from that same larger clip ALL WITH THE SAME NAME sitting on the timeline ready for export/ transcode. Upon export, I only get the last clip out of the total with the same name. Why didn't the rest of them export as individuals? I have a feeling the earlier clips from the same file with the same name were overwritten during export. Anyone have the low down on the workaround? *Edit Got it. "Use unique filenames"

I'm curios if anyone has a suggestion on who has decent Rec709 luts? I'm currently working with Sony EX1, 5DM2, C100MkII (WDR) footage on a long haul doc. I had been using FilmConvert.

Hi Aaron, long time no see... I trust that you are keeping well out there. Thanks for the RGrain tip. Hi Aaron, long time no see... I trust that you are keeping well out there. Thanks for the RGrain tip.

I guess it depends if one can cuddle with that hyena after

- Thank you for the Noam Kroll suggestion. I tried Gorilla Grain, but it means a bunch of extra steps to an already complicated timeline with little room for more tracks. - Hi Kye, good suggestion as well. The only filter effect that seems to get me in the grain department is Noise... which I now see has some kind of issue with spiking the luminance level of the clip blowing out highlights by a small amount even at 1%... bless Adobe's buggy little heart. Hmmmm... maybe I go mix a drink...

Hi Mercer, thanks for jumping in... I see neither of have anything better to be doing on New Years Your suggestion works, I guess I just wondering how to get away from plugins in general... because after transporting a large doc film from CC2014 to CC2019 I see that the FilmConvert settings that were placed on the clips in CC2014, have somehow changed in CC2019. I had said that PPro's noise isn't grain, but I'm fooling around with noise now and wonder if I'm wrong about that.

Happy New Folks. So I've been thinking of moving away from the FilmConvert PPro plugin, but I always found it fairly decent to get acceptable results fast. In moving to CC2019, I've found that it is easy to get fairly decent results fast in Lumetri, but it has no grain feature to hide less than perfect footage with. As near as I understand it, I could add another track in the timeline and use something like Gorilla Grain but I have enough tracks going on. Is there some other way to add grain without using plugins or adding another track on the timeline? PPro CC2019 has a noise effect but that's not grain. Anyone?

Yeah man I hear ya on your workflow frustration issues and the revert back to CC2017. For me - as detailed in another thread I had running - 2019 would only see some of my h.264 and mpeg2 files and this causes me a crazy huge fucking slide sideways where I began a slow decent into renaming folders (to get Premiere to see the files) and relinking hell that just kept getting worse. During that process I noticed that the ProRes files always stayed linked so decided to go through a huge 2 week long conversion process... more time and money lost on what had always worked fine on CC2014 + 2013 Macbook Pro. But I'm somehow standing in the clear now and aware of one major bug that I'm not sure how it is triggered: I roll the timeline sequence and lose control of the entire system... have to do a power shut down to break it free and start again with work lost. Happened a few times over the last days and no idea what the cause is yet. This is happening on a 2018 Macbook Pro (Mojave) out into a Lacie 5 bay via Thunderbolt (1), with an external Dell daisy chained via Thunderbolt to HDMI. Thanks again for chiming in here Fuzzy... so few people here seem to have any editing issues.... it's all camera camera camera!

Good insight here Fuzzynormal, thank you! Details please? No compositing here, just dissolves and sometime a few video layers running together... and big walls of sound. Towards proxies, I've never worked with them. But I converted everything to ProRes as I really appreciate knowing just how much I can push and pull on the footage before it breaks apart. Is this still possible with proxies? Somehow methinks not. I knew CC2014 inside out and was mostly familiar with what would sink it... but it was starting to feel ancient.