KnightsFan

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?

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?

Because downsampling decreases noise, thus giving more dr in the shadows (at the expense of resolution of course).

Hi Andrew, this rumor and details should be presented in perspective.
I means, the NX1's sensor was able of 4k 240fps, IN LAB SETUP, and in year 2014 or even before.
By LAB SETUP, it means you cannot have it in a "camera size", even thinking to a large format camera.
BUT,  NX1 itself was able only 30fps. What was missing? A very powerful processor.
This is valid today for any pro-consumer camera, how many are able to do it, aka 4k 240fps?
Can you hold it on your nose or on your shoulders?
This new 8k sensor (7680x4320) with 71.93fps, does not have an 4k (3840x2160) output yet in the leaked specs but it could be 4 times quicker, so 4k @ 280 fps, well 16% quicker than the one in NX1.
I can't have a smooth playback on 4k on a "normal" laptop (i7, 16GB RAM, 250GB SSD, nVidia discreet graphics) just few years old, I have to have the playback direct from NX1 on HDMI :-( . . .
8k, let me. . . hope. . . maybe in 10 years will it be in a "convenient" package not pulled in a trailer.

In the context of the original post I was responding to you can't make up the difference between and Alexa's  DR and colour capture buy subsampling an 8k 'consumer grade' sensor. 

You don't really need a 16bit screen to reap the benefits though.

I will never understand, do you shoot or are you just some kind of geek. Because I will never understand people that says thing like that. I mean, can someone at real viewing distance even see more than 2k. The perfect example is the Alexa 2.8k sensor, I don't see anyone complaining about lack of resolution. It is just the geek that might find it sexy to be able to count every pores in an actress face when stopping the image.

It is a sony sensor.
@DBounce thats correct, two models, one for 30p and one for 60p.

It is a sony sensor.
@DBounce thats correct, two models, one for 30p and one for 60p.

I'm disappointed that the very vocal global shutter religious fanatics online have mislead Z Cam to waste their R&D resources on such a poor return for them.
No
 
Yes
No. 

You could even ask the question:

Is a global shutter camera really even necessary for 99% of professional filmmaking/videography? 

Answer: No.

The GS variant will probably have even fewer takers. It has a 1" sensor, lower frame rates, and less dynamic range. Basically, the RS version will be better in every way except that one feature, so I doubt it will influence sales of the RS version much.

Exactly. How useful is it? And if MFT gives the performance we need, then do we need to go extreme with FF sensors?

Look at the stills world, APS-C sensors already give all the photographic performance that 99% of us need (More people realizing that is what Fujifilm is betting on. With MF for the 1%, and the rich doctors/dentists/lawyers/hipsters)

The GS variant will probably have even fewer takers. It has a 1" sensor, lower frame rates, and less dynamic range. Basically, the RS version will be better in every way except that one feature, so I doubt it will influence sales of the RS version much.

Over on PV Forums then @eatstoomuchjam reports that with a little hacking he can already record ProRes HQ 4K on his Z Cam E2. 

Just needs a flag to be enabled in the existing firmware. So ProRes is already 100% ready to go on the E2, but Z Cam is waiting before enabling it....   probably just the final rubber stamping approval from Apple. 

@androidlad
If half of the "leaks" you've posted are even close to the truth, I'll be absolutely floored.
So it's going to be a 60 megapixel camera that shoots a full readout downsampled to 4k 60p, outputting RAW to the AXS-R7 recorder utilizing a quad-base ISO? Oh yeah, and the E to E mount focal reducers. You are saying that Sony--who lost the 10-bit photo/video hybrid race to Panasonic, Nikon and even Canon--and who currently maxes out at a 100 Mbps codec--is going to release a camera that leapfrogs the market, logic, and physics itself.
If any of these are true, I'll be the first to admit you were right. But to say I'm skeptical is an understatement.

The only time i really used it was when i had a single outdoor shot between two indoor scenes. The outdoor shot was very busy with high frequency detail, especially in grass and leaves. The indoor shots had almost no hi frequency patterns. So i reduced midtone detail on the outdoor shot a little bit just to soften it, and make it stand out less.

The only time i really used it was when i had a single outdoor shot between two indoor scenes. The outdoor shot was very busy with high frequency detail, especially in grass and leaves. The indoor shots had almost no hi frequency patterns. So i reduced midtone detail on the outdoor shot a little bit just to soften it, and make it stand out less.

@androidlad
If half of the "leaks" you've posted are even close to the truth, I'll be absolutely floored.
So it's going to be a 60 megapixel camera that shoots a full readout downsampled to 4k 60p, outputting RAW to the AXS-R7 recorder utilizing a quad-base ISO? Oh yeah, and the E to E mount focal reducers. You are saying that Sony--who lost the 10-bit photo/video hybrid race to Panasonic, Nikon and even Canon--and who currently maxes out at a 100 Mbps codec--is going to release a camera that leapfrogs the market, logic, and physics itself.
If any of these are true, I'll be the first to admit you were right. But to say I'm skeptical is an understatement.

Ofcourse are needed, and we all have a few fast primes.
Personally, I was reffering to zoom lenses, and I explain further.
EF 70-200
2.8f = 89x20089x200mn and 1500gr
4f =80x176mm, 780gr and 1000€ less (which is a lot of money in Europe).
A lot of people can, and do choose, the second option, saving 700+gr in the bag (and their back), 1000euros, and cheaper and lighter tripods, e.t.c. 
 

People who shoot 4k on an eos R.

People who shoot 4k on an eos R.

People who shoot 4k on an eos R.

People who shoot 4k on an eos R.

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.