So, we've finally had to move up to CC2020 (14.0.4), and proxy ingest names have been changed. You no longer have dimensions visible right there in the dialog box, but instead you're given options of Low, Medium, and High resolution.

Initially I thought that Adobe had finally implemented a change we've been asking for, where proxies are based off of the source media dimensions (say half res, third, quarter, etc), but no. It appears as though they're still sticking to specific dimensions (1280x720, 1024x540, etc), but they've just gotten rid of a quick and easy way to spot this by having the dimension in the preset.

Why? What is the point of making things less clear? Are we moving towards proxy sizes based off of source media, or...? If not, then can we just go back to the way it was before where it was clear what you were creating?

A way of setting the edit timebase to a figure that is different to the fps. For example when we edit in 50p there are 50 frames per second. When this is converted to a 25i clip for broadcast each frame effectively becomes a field of the interlaced clip. Broadcast regulations stipulate that all cuts must be on the upper or odd field, which means that all edits need to be on even frames. Avid allow a way of ensuring this by creating a 50P project but setting the timebase to 25p ensuring cuts can only occur every second frame, meaning that when converted to interlaced it will conform with broadcast requirements.

This is an addition to my previous post. So far i've had fairly decent results color correcting and editing H265 10-bit files from my Lumix S1H. However, certain effects, such as Posterize Time, Neat Video and other temporal effects cause the image to not only have a magenta color shift, but also cause color blotching / artifacting that are not actually there. A color shift would have been one thing that could have easily been fixed with another color correction layer. But blotching / artifacts can't be removed and thus require me to first render my clip to ProRes, before I can add these effects. Full H265 10-bit support needs to be addressed with this system, soon.

I have run into what seems like a very disturbing bug in Premiere Pro. Currently running 13.1.2 on an iMac with OS 10.14.1 and Blackmagic IO card.

I have a 1920x1080 23.976p sequence with Maximum Bit Depth and Maximum Render Quality selected.

I have camera original clips of various codecs. The problem occurs when a camera original clip has levels above 100ire.

When I put a .mp4 based clip with over 100 levels in the sequence the levels are preserved.

When I put a .mov file containing an XDCam 35 codec with over 100 levels in the sequence, the levels are clipped at 100 ire. If I look at the clip in the source window the levels are preserved. I can force Premiere to reveal those over 100 levels by merely applying the Lumetri effect to the clip in the sequence (no adjustments to that effect need be made).

When I put a ProRes 422 .mov file with over 100 levels in the sequence, the levels are clipped at 100 ire. If I look at the clip in the source window the levels are preserved. In this case nothing can be done to retrieve the levels above 100. If I place a Lumetri effect on it, there is no change. If I reduce the levels in Lumetri with any of the tools, the overall level is scaled down, but the overs are not retrieved. Putting a Lumetri effect on the clip as a Master Effect also does not help.

Exporting samples of these clips as ProRes 422 HQ and then inspecting in DaVinci Resolve confirms that what I see in Premiere is in fact burned into the new media.

Using either OpenCl, Metal or Software rendering makes no change.

I have upgraded another similar system to the latest Premiere Pro version - 13.1.5. The only difference I see there is that when I am viewing the ProRes clip, if I press play, the clipping goes away. When I press stop, the clipping returns. But when exported, again, the clipping is burned in.