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No converter ever seems to have the options I'm looking for. I first started using ffmpeg to create proxies. After shooting I run a little python script that scans input folders and creates tiny 500 kb/s H.264 proxies with metadata burn in. I tried other converters but I had so many issues with not being able to preserve folder structure, not being able to control framerate, not being able to burn in the metadata I want, etc. I've also had issues with reading metadata--sometimes VLC's media information seems off, but if I use ffprobe I can get a lot of details about a media file.
I also use ffmpeg now to create H.265 files since Resolve's encoders are not very good. I can get SIGNIFICANTLY fewer artifacts if I export to DNxHR, and then use ffmpeg to convert to H.265 than if I export from Resolve as H.265.
And recently I did a job that asked for a specific codec for video and audio, the combination of which wasn't available to export straight out. So I exported video once, then audio, then used fmpeg to losslessly mux the two streams. And another little project that required me to convert video to GIF. It's become a real swiss army knife for me.
Yes, Resolve has a batch converter. Put all your files on a timeline, and then go to the deliver page. You'll want to select "Individual Clips" instead of "Single Clip." Then in the File tab you can choose to use the source filename.

So the current situation is that:
1. You have H.264 footage, but it is not linking properly in Premiere
2. You can convert H.264 to ProRes with Adobe Media Encoder, but it bakes a black bar at the bottom
3. You can convert H.264 to ProRes with Compressor, but there is a color shift
4. IF you could convert to a properly scaled ProRes file, you can get it to work properly in Premiere.
Are all of those correct and am I missing anything major? If not, one option is to use ffmpeg for conversion. It's is my go-to program for any encoding or muxing tasks, and I've never had any issues with it encoding poorly or shifting colors. Is this an option?

For me, I noticed the problem after exporting the video but the issue was visible in the timeline also. I just didn't see it in the small preview panel before.
But yeah, It just looks like another Adobe problem....

 

Have you looked at the file in other programs? Can you confirm whether it's exclusively a Premiere problem, or is the problem with the files themselves?

I had a similar issue with CC2019, the file were Cineform though and the tiny strip was white and on the right side of the frame (vertical line on the edge). I haven't noticed anything in h.264.

I messed with Premiere for one hour trying to figure out what was going on but I couldn't find the source of the problem nor a quick fix so I decided to apply a tiny bit of crop on the entire timeline (something like 100.1) and the line was not visible anymore. Not ideal but it fixed the problem rapidly until the geniuses at adobe can fix their beta software in 6 months. If anything, It reminded me why I usually never jump on the latest version. I'm back to CC2017 now... #adobe

Sorry I can't be more helpful to your actual issue, but I will say in terms of batch renaming, I've been using 'A better finder rename' and it's pretty great.
 
In terms of compressor vs media encoder, I personally like Media Encoder better and use it more.

Again, sorry I can't more help for your real issue here, just wanted to chime in where I'm able to.

It's exactly the same between trial and full version.

No, I always wait for a couple of patches before installing a major update and plan to switch to Resolve or getting a Mac and using the Final Cut X license I bought when it first came out and learning that. Just can't justify spending $600 a year on a subscription when there are other options out there. I only switched to Premiere after Final Cut Pro 7 no longer was efficient. 

Oh hell you are half way there. Good job. I had a suggestion but now you are winning the battle. Proceed. ?
This kind of explains Codec and Container, ergo Wrapper a little bit.
"Simply put, a codec is a method for encoding and decoding data and more specifically, a protocol for compressing data, especially video. Selecting the right codec can depend on several factors. Target file size, output quality, and delivery method all factor in. Currently h.264 is the predominant codec on the web.
In comparison, a container, is what holds the grouping of compressed video as defined by the codec. A container is also referred to as a format. The container takes care of packaging, transport, and presentation. The container is usually represented by a file extension. For example the MPEG4 container is usually represented by a .mp4 file type".

Rather than doing it all manually, why not set up a huge batch convert to encode to a different codec that is accepted and maintains the file extension. Set those to go to a whole new drive.
While that’s happening continue to edit in cc2014 and when it’s done open your project in cc2018, plug in the drive with the new encodes, unplug the drive with the OG files and relink the whole project. 
It might take longer, but at least you can keep working in the meantime and it’s much less manual tasks, and you can leave it over night.
Also, don’t update mid project, it never, ever saves time. 

You're welcome. I'm not sure of what you are trying to do but additionally you can export and copy all the files in a single location. Go to FILE > Project Manager. Then select the sequence (timeline tab) you are working on, specify an export location and it will save your project and all the associated files to this single location. It can be useful when you are working with media scattered across many different hard drives and want to consolidate all the useful media on a single drive.
 

Yes and it's very simple. On the top menu go to EDIT > Remove Unused

It's going to remove all the files which are not in your timeline. But make sure that you don't have multiple timelines tabs or sequences otherwise the "remove unused" feature will keep all the files also used by the other sequences/tabs.

Prores data rates are based on the frame rate and resolution. 24 fps 1080p is 117 Mb/s on normal prores, or about 3x the data rate you have. That means you would need about 11.1 TB to store it.
Prores lt is smaller. If i were you, i would convert one or two files and judge the quality difference yourself, but i imagine its fairly similar.

Sorry to hear that. Had to change all my project's extensions once. Couldn't find a workaround.

Disclaimer: I dont like or want rolling shutter. I love the motion from the videos I shot with the global shuttered D16 and BMPC4K.
A fun fact I've told many times before, still applies so here it goes again  

One of the top, if not number one, TV shows in Sweden is a game show called "On the track" (https://en.wikipedia.org/wiki/På_spåret).
Its a quite difficult show with questions about everything from food to sports in different geographical locations.  
Its been going on since 1987 with an average of 2 million viewers and a peak of 3.7 million.

In 1990 when the record was set that accounted for 43% of the population. Remove those to young and/or to old and we get pretty much everybody.
Three times every show we get to watch an up speed train ride and the camera is filming from within the train. It goes on until the contenders guess where the train is heading. So every week 2 000 000 people watch bent poles, crooked houses and leaning towers, for at least ten episodes per year.
Never ever ever ever, not once, nope nope nope, no no not a single time have I or anybody I know ever heard anyone point it out or simply said "have you noticed the bent poles?"
Camera nerds like us of course see it but no one else cares even a little bit.
My point is, if a camera ticks all your boxes but has a flaw like aliasing, RS or a bit of noise in the shadows. 
Then maybe its still good enough for your audience.

Imo it I rather have a camera I like with a bit of noise in the shadows than a camera I dont enjoy.

Hey, I am the first person to agree with you. Your house, your rules... I’m just a guest here. But I cannot imagine the irony of the bans stemming from the original article is lost on you?

90% of this forum probably want Kidz, Squig, Axel, JCS and Damphouse reinstated, doesn’t mean it will happen. 

Fiji's Fly by wire lenses don't feel like fly by wire at all. They have definite hard stops and I use the DOF scale to focus manually quite often with great results. 

Mostly I see Fuji on set. Some Sony and some Olympus (EM1 Mk2)
Olympus can do 60FPS RAW in silent and have ProCap, basically a stills buffer if you’re trying to get an action event. (Capture frames BEFORE you hit the shutter release)
Sony is better in low light and for resolution (post crops).  Olympus is better for native lens reach, better IBIS (lower shutter speeds in low light), smaller, cheaper, lighter weight and better weatherproofing. I think also better rolling shutter because the sensor is smaller (faster integration time)
jb
 

stuff seems ok to me... maybe post a link so we can compare?
 

No problemo on this end. Did you select somewhere on the timeline? That's a trick carried over from YouTube to force a new load with the set parameters.

What killed film wasn’t digital per se, it was the migration of film PRINTS in exhibition to digital projection.  
Of course digital projection at first has obvious advantages. Dust, scratches, stability and of course, they won’t change the 4th reel for one printed on a different release stock from a different lab.
However, like film, most cinemas let their plant run down. With digital this sucks.
I see many many cinemas with poor digital projection.  Tired and shitty 2k projectors, dull whites, no contrast, soft setups, milky milky blacks make me crazy. 
Look at black masking / surround drapes next time you’re in a cinema and compare it to “black” from a projector in the image. 
Digital projected black is more like 18% grey.  There’s no contrast in the image like with a film print, no dynamic range.
Some new systems are fixing this (dolby and the new giant OLED cinema screens being trialled in CA)
...and for the love of god, showing a 2D on a 3D screen is a major crime that few notice. I complain and usually get blank stares.  They don’t even know what aim talking about.
When you see an “answer print” on a properly setup screen it’s something to behold. Truly breathtaking.  I’d forgotten how magical it really really is. 
We even have the technology to make prints at first generation (answer print) pretty much in real time instead of the two stage duplications of release print but it’s too late. Doesn’t matter now. 
Most of Kodak’s business was in making print stock, not camera negative.  That’s what killed them.  Well actually, the motion picture imaging division has always been profitable.  Just not profitable enough to continue to prop up their moronic decision to make consumer printers (but not supply the ink).
JB

I always hear comments like this, but I’ve never heard an actual story of anyone having a “it was all blank sorry” moment.  This seems like the modern equivalent of forgetting to load a card into a digital camera. You’d have to either have very serious mechanical error, severe under exposure, or be uneducated in the process, all of which are preventable... especially since the room for error with negative film is extremly high.
I recently shot a short piece on a Bolex Rex 4. The scanning prices have dropped recently and the 4k scans available now are really nice and affordable. 
ProRes LT to Vimeo has worked pretty good for me in the past. Film grain holds up really nice in my experience.
 

heard abt this... interesting
youtube definitely needs competition
my first reaction was, why IGTV? like call letters? lol what is this radio
everyone calls instagram insta it should be instaTV ?

Out of likes. Nice find.