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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.

Yes exactly. Moreover, I do understand some of the complexities in and around what it must take to produce compatible software en mass... but with competition driving innovation, I think we'd all be grateful to see fresh gains made in the ability to move our projects out and away from buggy companies beholden to shareholders while failing to keep up. Hurray for the underdog!

Alright, another PPro crash prompted me... so I just exported an XML of a PPro 20 min timeline and opened it in Resolve a moment ago for the first time. On first glance, all the media is there but dozens of title cards (.png) that I'm using for subtitles are in place on the timeline but registering as offline (red) though they still have my text content indicated in them. Not yet sure if I can get them to register as online. Needless to say all the audio/ video effects/ tweaks are missing but it looks like the audio cross dissolves made it across. I've already built huge sections of the film in PPro so I don't know that I have the time to re-organize and rebuild them in Resolve... but overall it's super exciting to see this opened up in Resolve... it also signals being one step closer to leaving Adobe. Knowing just how many people are pissed - myself included - I wonder if Adobe may be getting ready to remove this Export XML feature soon? Anyway.

"Bugs? What bugs?" I've just spent 6 weeks migrating a massive doc film from CC2014 to CC 2019 and in the process traded the few and simple bugs I knew, for god know what. Let's see... hopefully there will be benefits.

I certainly hear your frustration Kaylee. Sometimes (actually often) I like to imagine a software engineer, taking away a perfectly working button and replacing it with 3 that don't work under the guise of improving things... while somehow justifying their ill-gotten salary. Change for the sake of change is fine in some lay-about hippie's dream... but it's a nightmare to working professionals. Fucking hell.

Hey Kai, that's an interesting suggestion. Thanks. The monster I'm building is so crazy thick that it would be interesting to see what would actually arrive through the migration... and in what way. But for now, I'm just finishing the final leg of breaking the huge main project into smaller (more nimble) character driven projects and relinking the newly transcoded media. 6 weeks of 20 hour days, but nothing compared to collecting (10 years) the material in one of the most difficult and demanding megacities on the planet. No life like it... I'll report back on the migration success once I'm there. Oh and I still very much appreciate your insights since you joined EOSHD.

Thank you for the extra insights Mmmbeats, I really appreciate it as so few folks here actually chime in on the editing/ software side of things. Knowing the limitations and bugs are half the battle... and people tend to post their negative views on the software online so I see a lot of that when I'm hunting down my own issues and it gives me the impression that Adobe has hit the bottom. Half my project was in H.264 + Mpeg2, the other half is in ProRes. I've now transcoded the H.264 + Mpeg2 to ProRes and I have to say that I've really noticed a sizeable performance increase in doing that. The other massive boost came from putting the Media Cache on an external SSD. The project used to take 25 minutes to open and load, now it takes under a minute. Staggering!

This is actually reassuring to hear as I'm almost through a huge transcoding and relinking process and just stepping back into the creative beginning tomorrow. Let's see how things hold up.

Methinks this fuckery deserves its very own 'Adobe Horror Stories thread'. The challenge, however, is that who is really going to want to have to relive their's to tell it... I'm 6 weeks into mine and will have it wrapped by the end of today. If you like satire, give this one a go: https://forums.adobe.com/thread/2437579

All Adobe products should ship with a handgun... and one round in the chamber.

Good to have you insights KnightsFan. Thanks. I hear you on the mistrust of Adobe... as I remember Andrew sited the Johnnie Behiri Adobe promo as something of a lame counter to the growing backlash. When we last left off on a discussion, I had started using Resolve to transcode as AME (Adobe) had yet another bug... so I've been playing around with Resolve for a few days now and it just seems to work well. A lot of my film has been organized and built in Premiere (across 5 years) with 17,000+ files or I would have already jumped ship... good to hear that there are no hiccups on your 10k assets. Somehow the part of that Johnnie Behiri Adobe thing that sticks with me is when Adobe reiterates (try saying that word 10 times very fast Inazuma?) on how their software is used by the serious Hollywood pros... ugh.

Mongol-salabic?

Now I can't click on a clip in the timeline and reveal in the project/ finder... It's just one thing after another with these guys. If I wasn't so far along into a big project, I'd drop this garbage immediately. Nice work Adobe. That Johnnie Behiri trip to California Adobe piece is just another huge middle finger to everyone. Laughable. Can someone tell me if Resolve is able to hand big sprawling doc films well?

And... the black stripe is now fixed in AME 13.0.2. Still it was good to spend the last 3 days transcoding with the free version of Resolve (that just works)... as sign of things to come.

And the winner is... 5DtoRGB. Hands down. Say it with me... 'chroma sub-sampling.'

So far and between, the original file, Compressor, AME and Resolve.... Resolve is the closest in color of the original source file. Couldn't get iFFmpeg to work yet. Another vote for Resolve,