Category: eahbuzot

January 11, 2020 | | Post a Comment

first_imgTemple City National Little League has slated its opening ceremonies for 5 p.m., Saturday, March 3, at Longden Elementary School, 9501 Wendon Ave. In conjunction with the ceremonies, the city of Temple City, Temple City Unified School District and TCNLL will celebrate the installation of new field lighting. 160Want local news?Sign up for the Localist and stay informed Something went wrong. Please try again.subscribeCongratulations! You’re all set! For information visit last_img read more

January 10, 2020 | | Post a Comment

first_imgDAWSON CREEK, B.C. – Environment Canada has issued a snowfall alert for the B.C. South Peace.According to Environment Canada, A low-pressure centre will move into the central interior tonight, bringing precipitation to the B.C. South Peace, with Rain expected to begin late Thursday evening and change to snow overnight.The highest snowfall amounts are expected near Tumbler Ridge where 15 cm of snow is forecast by Friday afternoon while Dawson Creek and Chetwynd can expect about 5 cm of snow.- Advertisement -Visibility may be suddenly reduced at times in heavy snow.Be prepared to adjust your driving with changing road conditions.For up-to-date road conditions, be sure to visit read more

December 26, 2019 | | Post a Comment

first_img 4 Morrison could have been on his way to joining them, the player who kept Paul Pogba in his shadow when in the United’s victorious 2011 FA Youth Cup side.The 25-year-old, though, saw his career in Manchester come to abrupt end in 2012 when Fergie had had enough of his wayward ways, which landed him in trouble on too many occasions.Since then he has played for West Ham and spent time on loan at Birmingham, Cardiff and QPR before Lazio took him to Italy in 2015. It hasn’t worked out there either and he was even loaned to Mexican side Atlas, with the Italian side now understood to be the latest side to wield the axe. Oxlade-Chamberlain suffers another setback as Klopp confirms serious injury MONEY “But if you haven’t got it all, if you haven’t got the mental capacity to deal with being a professional footballer then it won’t work.“I tried to help him, but what they get up to outside of the football club can affect what they do on the pitch because if you have got bad habits off the pitch as a young kid or as an adult it will affect your performances on the pitch.” 4 “I was at [United] when he was there,” Ferdinand said earlier in the year when asked about how good Morrison was. “Probably the most gifted, the most naturally gifted young kid I’ve ever seen,” he revealed.“Sir Alex Ferguson, I remember, he called me and Wazza [Wayne Rooney] over one day and said: ‘look at this kid, he’s better than you, Rooney when you were a kid, he’s better than you, Rio, better than Ryan Giggs when you were kids. This is the best kid you will ever see.’ BEST OF no dice Ravel Morrison was better than Wayne Rooney when he was a kid, as well as Rio Ferdinand and Ryan Giggs.That’s according to former Manchester United manager Sir Alex Ferguson, who watched the latter three become Old Trafford legends. 4 Which teams do the best on Boxing Day in the Premier League era? REPLY REVEALED Every time Ally McCoist lost it on air in 2019, including funny XI reactions Top nine Premier League free transfers of the decade RANKED 4center_img Man United spent almost £30m on Rooney in 2004 when the forward was just 18 – he ended up becoming the club’s greatest ever goal scorer with 253 goals Son ban confirmed as Tottenham fail with appeal to overturn red card REVEALED huge blow shining Giggs and Ferdinand were two of the best young players in their age groups when they broke through in the 1990s, with Giggs starting at United and Ferdinand beginning at West Ham ADVICE Where Ancelotti ranks with every Premier League boss for trophies won Most popular football news “In training he used to just take liberties even with the first-team players,” he continued. “He’d come over at 16 and he could play one touch, could play two touch, he could weave his way through teams with ease.”Asked why he never fulfilled the potential he showed at such a young age, Ferdinand said: “The concentration levels to be a top top player that you need, to be on it every day, he could never get that married together.“You look at the [youth] team he played in; Jesse Lingard, Paul Pogba, Adnan Januzaj, they looked at this guy like he was a superman, like he was a superhero because he was that good with what he could do with a football. Ronaldo warned Lukaku how hard scoring goals in Serie A would be before Inter move In a youth team that included Jesse Lingard and Paul Pogba, Morrison, right, was the biggest star Forbes list reveals how much Mayweather, Ronaldo and Messi earned this decade Berahino hits back at b******t Johnson criticism – ‘I was in a dark place at Stoke’ Morrison has been unable to settle at one club since leaving Man United in 2012 and now Lazio look set to send to him on his way Premier League Team of the Season so far, including Liverpool and Leicester starslast_img read more

December 25, 2019 | | Post a Comment

first_imgThe fifteen workers at the Oatfield Sweet Factory in Letterkenny have been given a temporary has learned that the company has received a major order which will keep the company in production until at least May.There had been fears that Z Candy, the company which owns Oatfields, was about to shut the plant at the Gortlee Roundabout. It was thought the company had agreed to sell the land on which the plant was located to a major supermarket retailer.However a source at the plant revealed: “A decent order has come into the plant and that will keep the immediate future of the company in safe hands.“If that order can be fulfilled, the who knows what’s around the corner.“Workers are nervous after all the rumours but hopefully this will give them some kind of stability.” LEAVE YOUR COMMENT BELOW© 2011, all Rights ReservedThe copying, republication or redistribution of Content, including by framing or similar means, is expressly prohibited by law.Follow us on us on SWEET FACTORY GIVEN REPRIEVE WITH MAJOR ORDER was last modified: February 22nd, 2012 by StephenShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)Tags:letterkennyOatfieldsZ Candylast_img read more

December 25, 2019 | | Post a Comment

first_imgDONEGAL TD Pádraig Mac Lochlainn has written to Marine Minister Simon Coveney today, hitting out at his department’s ongoing legal action against the owners of Fahan marina.JJ McDaid, the managing director of the Lough Swilly Marina had successfully defended a High Court action.It was brought against them by then Minister Noel Dempsey. Jusice Liam McKetchne had awarded the group €2.045 in damages, of which he said €1.545M had to be released immediately so that works could begin on the project, regardless of a possible Government appeal.But the Government is appealing.In his letter to Minister Coveney today, the Donegal Sinn Fein deputy wrote: “I am deeply alarmed to learn that your Department have recently taken further legal measures to curtail the work of Lough Swilly Marina, Co. Donegal.“Despite many hurdles along the way, the directors of Lough Swilly Marina have managed to establish a marina with over 200 berths at Fahan, Co. Donegal. This is now a very important part of Donegal’s marine tourism infrastructure. “Can you advise me as a local TD what the rationale for further delaying the next exciting steps for that marina is? What local or national economic or tourism interest is served? What rules or regulations have the directors of Lough Swilly Marina not adhered to that was not resolved by Judge McKechnie’s High Court ruling?“The facts are that both Donegal County Council and your department have collectively spent millions of euro over the last decade either pursuing publicly funded marinas in Donegal that have never came to fruition or doing all in their power to close down the one marina that has actually become a reality. This defies all logic and in my view cannot be in the public interest.” TD’S ANGER AT DEPARTMENT’S LEGAL ACTION AGAINST FAHAN MARINA was last modified: August 9th, 2012 by BrendaShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)last_img read more

December 25, 2019 | | Post a Comment

first_imgBudget 2013 cuts for Co. Donegal Further Education sector are unjust and unfair, the Chairperson Co. Donegal Teachers’ Union of Ireland has said.Joanne Irwin said says cuts here are an attack on “some of the most marginalised and vulnerable learners in the county.”She told Donegal Daily today: “It is a backward step in terms of equality, tackling disadvantage and attempting to provide a level playing field in education. “The further education sector provides a high quality alternative to mainstream higher education for students whose aptitudes and interests lie in areas as diverse as animation, music, horticultural and jewellery design.”She said the increase in the pupil/teacher ratio announced in the Budget will result in the loss of 200 full time teaching posts nationally.“In reality 500 teachers will lose their job as many teachers are now part time. This is a huge reduction in frontline staffing levels,” said Ms Irwin.The union leader said cuts would hit Further Education students worst including: • Second chance / adult learners– Those who left education during the Celtic Tiger with no formal skills or qualifications– Those who are qualified in areas where there are no longer employment opportunities who need to up-skill and retrain– Stay at home parents whose families have grown up and who wish to train / up-skill in order to re-enter the labour market• Unemployed citizens who wish retrain/upskill to re-enter the labour market or start their own business. • Students who were not ideally suited to mainstream education, because, in many cases, it did not address their particular interests and aptitudes.• Some students/school leavers choose PLC schools to undertake particular high quality, specialist courses – performing arts, green energy, art and design, cloud computing etc.“Some of these students come with particular educational challenges and therefore need particular and focused support,” said Ms Irwin.“This is why smaller class sizes are vital in the sector. In addition, many of the courses have a focus on practical work and small classes are essential for these courses.” She added: “Now is not the time to cut a sector specially equipped to retrain and upskill our unemployed citizens. The budget measure is counter-productive. It will lead to further educational inequality and societal division.”CUTS IN DONEGAL EDUCATION ATTACK ON SOCIETY’S WEAKEST, SAYS LOCAL TEACHERS’ UNION CHAIR was last modified: January 2nd, 2013 by BrendaShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)Tags:CUTS IN DONEGAL EDUCATION ATTACK ON SOCIETY’S WEAKESTdonegaleducation cutsSAYS LOCAL TEACHERS’ UNION CHAIRlast_img read more

December 22, 2019 | | Post a Comment

first_imgThis week’s Car of the Week is this stunning 161 Mitsubishi ASX 1.6 DiD Instyle, finished in Metallic Silver & Black Leather Interior.One local owner from new with only 15,500 kms.Just €22,900 with 6 years warranty remaining! Equipment includes:Leather upholsterySunset glass18″ Alloy WheelsOn-board computerHeated SeatsReversing Cameraand much more! For more, visit their website at**FREE ENTRY TO WIN A NEW SEAT ATECA IN AID OF THE JACK & JILL FOUNDATION WHEN YOU PURCHASE THIS OR ANY USED CAR THIS MONTH**March madness continues at DMG Motors! was last modified: March 28th, 2018 by Staff WriterShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:161Jack and Jill Foundationmarch madnessmitsubishimitsubishi asx 1.6 did instylelast_img read more

December 15, 2019 | | Post a Comment

first_img Pluto TVPluto TV is rapidly gaining momentum as a competitive player on the OTT block. It’s completely free to consumers and available on all major devices. Pluto TV delivers more than 100 TV channels and an on-demand library with thousands of free movies. It’s premised on the “lean back” TV experience and equipped with traditional TV features, including an online program guide and channel-surfing capabilities. Being free and full of premium programming, it’s easy to attract existing OTT fans and those new to the space.Pluto TV offsets the cost of the viewer experience by offering ad-supported commercials, similar to those executed by traditional cable and broadcast networks today. It includes established networks like NBC News, CBSN, Food TV, and Fox Sports, as well as popular internet channels including Cheddar, PopSugar, WPT, and People TV. The brand recently struck deals with major studios, including MGM and Warner Brothers, and has earned its place as a sought-after advertising outlet for marketers looking to reach cord cutters. Pluto TV has been called the “best cord-cutting app,” and Digital Trends said, “It doesn’t seem like Pluto TV will be going anywhere.” Uber vs Lyft: Battling for Supremacy HuluHulu is a paid subscription streaming service that offers both ad-supported and commercial-free subscription packages. It offers an extensive library of premium TV and film content, with options for live and on-demand channels and a slate of original series. Hulu secures some of the highest commercial pricing in the industry and is consistently sold out. A recent deal with The Walt Disney Company aims to give Hulu the flexibility afforded to its closest competitors, Netflix and Amazon Prime Video. Unlimited access to the Hulu streaming library is $7.99 per month; Hulu with Live TV costs $39.99 per month.Hulu has generated significant amounts of buzz with its original show “The Handmaid’s Tale,” which helped it earn critical acclaim, a dozen coveted Hollywood awards, and worldwide recognition for its original programming. In early 2018, Hulu reported that it had 17 million subscribers and, despite a revenue loss in 2017, was able to capture $1 billion in ad revenue — something that makes an irrefutable case for the shifting of advertising dollars toward OTT. RokuRoku has marked itself as a trailblazer in the world of OTT with its affordable hardware and easy-to-use interface. In addition to its devices, Roku offers a robust variety of ad-supported and subscription-based content channels. Roku’s streaming players connect directly to TVs, and the service can also be accessed by smart TVs with built-in Roku. The service offers access to more than half a million TV episodes and movies, as well as Netflix, Amazon Prime Video, Pluto TV, Google Play, Hulu, and the major four broadcast networks. Recently, Roku launched its own app called The Roku Channel, full of ad-supported movies and TV shows. While The Roku Channel itself is free, the streaming players start at a cost of $29.99 for the hardware.Roku went public in September 2017 after seeking an IPO valuation of $100 million. The bulk of the brand’s revenue comes from its Roku players, but it’s seen its customer lifetime value nearly double in a two-year span; it relies on a mix of streaming subscriptions, licensing partnerships, and advertising, all of which have led to brands migrating to Roku from traditional TV buys. The company has seen a number of competitors enter the player fray since its inception, but Fortune noted in 2017 that Roku “is doing better than Google and Apple,” thanks to its OS-agnostic device. This is just one of the many reasons advertising revenue is finding its way to Roku.Cutting the cord has earned its place in the mainstream, and brands are vying to influence the viewing habits of an ever-increasing OTT audience across the United States. These three OTT brands have all developed rich, intuitive platforms for CMOs to direct their ad spend and earn back their market share and sales. The numbers are in, and it’s evident that streaming stands to get a lot more lucrative — for both streaming companies and their advertisers. Tags:#advertising#ott#over the top Related Posts Brad is the editor overseeing contributed content at He previously worked as an editor at PayPal and Crunchbase. You can reach him at brad at center_img CEOs in Troubled Waters (with Myriam Joire from… Brad AndersonEditor In Chief at ReadWrite A Review of Instagram Marketing by Matthew Lucas Americans are getting serious about cutting the cord. By the end of 2017, more than 22 million people had dropped their cable or satellite TV providers; millions more have chosen not to sign up for cable or satellite TV services at all.A slew of recent industry reports have shown that Americans are actively in pursuit of new ways to consume entertainment. According to eMarketer, their reasons for cutting the cord are primarily based on factors related to price and convenience. eMarketer also projects that within the next three years, the number of people who have never subscribed to paid television services will equal the number of people who have abandoned it. All in all, a whopping one out of three Americans is expected to forgo cable or satellite as the primary source of content viewing by 2021.These trends present a challenge to brands and agencies. How do you reach the third of the audience no longer watching traditional TV?Don’t worry; it’s not all doom and gloom. Historically speaking, mediums have constantly been disrupted; with that disruption, they improve. More options means more fragmentation. And better technology means better data, better targeting, and, in turn, better performance. That’s not to mention the access to tools that allow for experimentation with creative that was once limited only to those with big budgets and third-party resources.Looking back at the transformation from radio to television, from the internet to mobile, from dot-coms to social media — and now from TV to OTT services — there’s clear evidence that industry evolution can prove to be exactly what a brand needs to take it to the next level.Looking forward, these are three established OTT companies, employing unique and distinctive business models, that are currently winning the battle for viewers’ attention while attracting advertisers’ dollars. 4 Ways You Can Make Your Workplace an Engine of…last_img read more

December 15, 2019 | | Post a Comment

first_imgBrad is the editor overseeing contributed content at He previously worked as an editor at PayPal and Crunchbase. You can reach him at brad at What it Takes to Build a Highly Secure FinTech … Brad AndersonEditor In Chief at ReadWrite It’s been no secret that the music industry has been struggling over the past couple decades. After years of spiraling album sales, the industry hit a new low in 2016, with just over 100 million units sold — a nearly 14 percent decrease from the previous year, reflecting declines in both physical and digital album sales.That’s not the whole story, of course. The music industry’s sluggish sales gave way to music streaming, which overtook physical music in terms of revenue last year. With streaming music’s revenues skyrocketing to $6.6 billion — representing growth of 41 percent — the music industry has championed streaming as its new golden goose.This is a good change — the music industry lost billions by fighting the shift to streaming. By focusing on CDs and digital downloads, never mind the fact that CDs saw an 84 percent decline in sales over a decade, the industry found itself “fighting over pennies while waving goodbye to dollars,” as The New York Times pointed out.Musicians Take the HitThis sea change of embracing the technology the music industry once feared hasn’t necessarily paid off for musicians, however. Music manager Troy Carter told TechCrunch that labels are hoarding the royalties earned through streaming, keeping more than 70 percent of the fees. The contracts musicians sign with labels are intended to drive revenue for the record labels, not the artists themselves. The common refrain is that for every 20 artists signed to a label, only one is successful — with that math, it makes sense that labels hedge their bets to fund all 20.Carter believes, however, that streaming payouts could approach CDs’ revenue heyday as more users sign up. Platforms like Repost are making the same bet. The platform, designed to help musicians make a living through their online audiences, works with artists and their teams to monetize their music distribution and promote their work.Despite the democratization of many platforms and technologies, it’s been incredibly difficult for musicians to monetize their content, and fragmentation is a big part of the problem. “The music industry is way more complicated than it needs to be,” says Repost’s CTO Joey Mason. “Despite all of the advancement in tech, the structures in place on the revenue collection side are incredibly inefficient. To make matters worse, the copyright rules and regulations differ for each territory, so often, it’s not cost-effective to try to collect revenues in certain territories.”Mason says that for artists, this problem is compounded by the fact that there’s no seamless way to collect all of their earnings. They’d have to work with multiple entities — performing rights organizations, publishers, labels, distributors — to collect every cent they’ve entitled to. This forces artists to spend more time developing business skills than creating new music.Consolidating an Entire IndustryWhen Mason and his co-founder, CEO Jeff Ponchick, built Repost, they aimed to eliminate as many of the distractions for artists as they could. They recognized that most of the artists they spoke to struggled primarily in terms of exposure — they hit a wall as independent musicians and needed help getting to the next step. These independent musicians then faced a laundry list of tasks: optimize music on every platform; earn press write-ups; find promotional outlets; collect checks from SoundCloud, YouTube, etc.Seeing how confusing and draining this was for artists, Repost built itself as a one-stop shop for doing everything. By eliminating multiple distribution and payment touchpoints, the platform also removed the burden of dealing with a variety of infrastructures, accounting practices, and more.“A lot of people don’t know the difference between a music distributor and a record label,” Ponchick says. “For a distributor, we’d be seen as insanely expensive, taking 30 percent of artists’ money while others take 5 percent. But we offer label services and marketing the way a record label does, without taking any ownership of the music itself. It’s a way to make it OK to remain independent, for musicians to avoid signing with a label. They can make $20,000 to $30,000 per month and retain ownership.”Chance the Rapper is one well-known indie artist who’s avoided the dreaded “sellout” label and made a successful go of it. While his success is considered a “fairytale” within the industry, Repost’s team aims to make independent success attainable. It started its quest with an algorithm. Artists apply to join Repost’s platform with their SoundCloud IDs; the platform’s algorithm combs the artist’s channel, assessing her average play count per upload, follower count, and biggest and smallest track to determine her likelihood of making money through the platform.This data-driven approach has resulted in 100,000 rejected applications and 5,000 acceptances. But it enables Repost to put its focus and efforts behind the artists who are best positioned to benefit from its hands-on bevy of services, ensuring it doesn’t spread itself too thin or do what many in the music industry have done: sold a bill of goods to artists.Making Tech Music’s Best FriendRepost has recognized one thing many — other than artists — have failed to see: It’s inherently difficult to manage the varied tech infrastructures presented by SoundCloud, Spotify, YouTube, and others. And that remains true whether an artist is independent or well-established, selling out arenas.“Every music platform is unique in how its content is delivered, monetized, and consumed. In order to maximize revenue, artists need to have a solid understanding of best practices and a monetization strategy for each store,” Mason says. “They need to work with a distributor that provides them a high level of insight and control of their content on a per-platform basis.”Unfortunately, Mason says, most distributors take the one-size-fits-all approach, meaning artists’ revenue generation can’t be maximized. Repost has sidestepped that issue by building deep technical integrations with the platforms artists value most, with an emphasis on marketing, monetization, and content protection. And it’s worked: Repost’s client base has been driven through word of mouth, and it’s currently paying tens of millions of dollars to artists annually.For example, Repost does fingerprinting through YouTube to drive revenue back to artists. Repost aggregates, packages, and delivers sound recording rights information to YouTube at scale for thousands of artists; using this data, YouTube utilizes audio fingerprinting to find videos on its platform that match the provided sound recording. When a match has been found, the YouTube video is “claimed” on behalf of the artist. Any advertisement or subscription revenues generated by the video are then sent back to the artist through Repost.Technology is making what was once impossible possible for the music industry, and it’s democratizing music creation. “Music production is cheaper and more accessible than ever before — anyone with a laptop and Ableton can produce a hit track,” Mason explains. “Because of this, a ‘middle class’ of musicians has emerged, and more and more money is shifting into the mid- and long tail. Record labels aren’t equipped to handle this scale. They’re not tech companies, and their business models are built around breaking a smaller roster of artists and, ultimately, taking ownership of their clients’ music.”Repost sees itself as a tech company in music, not a music company in tech. Because its business model is built around working with thousands, not hundreds, of artists, it’s invested heavily in automation. That’s enabled it to operate on a revenue-share model, not an ownership model. “This is better for creators, which is why so many artists are choosing to go independent rather than work with labels,” Mason says.While the music industry has been struggling for years, technology is on track to put an end to that. With companies like Repost applying automation and technology to the many hoops the industry has erected over the years, they’re putting music on a path to become as streamlined as businesses in other industries. And that’s exactly what music needs. Tags:#automation#fragmentation#music#music industry#tech Follow the Puck Related Posts Why IoT Apps are Eating Device Interfaces Trends Driving the Loyalty Marketing Industrylast_img read more

December 12, 2019 | | Post a Comment

first_imgWe’ve previously covered offline editing and proxy workflows, but in this article, we’ll cover methods to make your 6K RAW editing more amicable.Although the Pocket 6K is budget and new user-friendly, the files the camera produces can be anything but. 6K BRAW media is a resource-heavy media that requires substantial processing power to play back.As a side note, when I started to initially film my review video (you can watch here), I decided to record in the highest constant bitrate quality possible. The files were so immense that the card Blackmagic supplied me wouldn’t even play back the media. I had to drop down to 8:1 to review what I’d shot.With that, it’s not going to be practical for most people to try and edit native 6K RAW files. This is especially true if you decide to add any sort of color grading or OFX effect, which requires more GPU processing. When the world was going crazy for cryptocurrency and there was a shortage of peripherals — especially graphic cards (GPUs) — we saw a rise in the price for many computer components. And, perhaps for the first time, it was cheaper to buy a pre-built custom PC than purchase the parts separately.I wanted a system that could handle 4K files at ease, and now I have one. But at 6K BRAW 3:1, I’m only moving at 17fps. And, even on the lowest recorded settings (12:1), I’m reaching 23fps. Perhaps usable to some extent, but not favorable when trying to edit.So, of course, we need to create edit-friendly files. We’ve covered offline editing and proxy workflows in the past, but in this article, we’re going to quickly skim over a few methods to make your 6k RAW editing a little more amicable.In theory, there are three methods we can use to do this in Resolve. However, we’re only going to focus on two. The first technique involves decreasing the resolution playback, which can be done in the Playback Menu under Proxy Mode. You can switch the playback from Half Resolution or to a Quarter Resolution.However, I’m going to say that if you have a low performing computer and are struggling to play back 6K in general, I’d suggest skipping this altogether. As noted by Uli Plank on the Blackmagic Forums:Red footage, a.k.a. R3D, for example, can be quite efficiently decoded at lower resolutions, due to its wavelet codec. DNG sequences, H.264, or BRAW (while the latter is easy on the CPU) don’t profit much from lower resolution since they need full decoding to produce an image.Ultimately, Resolve is still the original 6K BRAW file, and I’d bet money on Resolve pausing and dropping frames every so often.Realistically, you’re going to need to create a proxy file so you’re editing with less intensive media. There are two ways you can do this.Optimized MediaOptimized media is Resolve’s in-house system for taking your source clip and generating a proxy stored in Resolve’s cache folder.To optimize a clip, select the clip(s) that need to be optimized, right-click over a media file, and select Generate Optimized Media. Resolve will then create optimized media. If your system is unable to playback 6K RAW files, this process will likely take some time.When the clips have been optimized, there’s no visual indication to let you know that one clip is optimized and another is not. So, I suggest placing optimized media in a separate bin to keep track of the optimized media.Once Resolve generates the optimized media, make sure to select Use Optimized Media If Available on the playback menu. Likewise, for grading or zoomed-in analysis, you can flick between the optimized media and the source media by deselecting this option. As Resolve retains the link to the original files, the switch is instantaneous and involves no waiting.This should hopefully make the 6K BRAW files easier on your system. However, if you find that the generated media is still acting sluggish, you likely haven’t adjusted the Optimized Media and Cache settings in Project Settings>Master Settings. In this panel, you can set the parameters for how you wish your media to be optimized.I’d love to give you a one-for-all setting to go to, but that’s going to depend entirely on what your system is comfortable with. But, as a starting point, I’d look at using the DNxHR 444 codec.However, the optimized media is generated within Resolve’s database system, meaning you wouldn’t be able to move the files to a different NLE. More importantly, if you change the camera BRAW data, the optimized media will be discarded and you have to generate optimized media again (which can be a lengthy process).Therefore, the other — and honestly most suggested method — would be to transcode your media into edit-friendly files traditionally.Transcode MediaThere are two ways you can do this. First, when in the media page or media pool, select the 6K BRAW clips you’d like to be transcoded, then choose File>Media Management. The following pop-up menu should appear.First, select Clips (from Entire Project, Timelines, and Clips), then Transcode.You can now select the Render Destination, and as before, you need to set the transcoding options to render the 6K RAW files out as edit-friendly files. Again, DNxHR would be a good starting point, depending on your machine. Although, most computers should be able to play a 1080p DNxHR file, and if it can’t, well, time for a new PC.Alternatively (but I would suggest the above option), you could also add all the 6K RAW clips that you need to transcode to a new timeline. Head to the delivery page to transcode. When on the delivery page, there are two specific checkboxes you need to tick. First, you need to make sure you select Render Individual Clips. Secondly, on the File tab, you need to choose Filename Uses Source Name. Then, once again, select an edit-friendly preset and render your media.With both methods, you’ll need to import the proxy files back into Resolve. Then, before color grading and/or delivery, relink/replace the proxy clips with the 6K raw files, and you’d have sidestepped a lot of stuttered playbacks and huffing.Looking for more tips on working with DaVinci Resolve? Check these out.Working with Different Frame Rates in the Same File in ResolveHarnessing the Power of Facial Refinement in DaVinci ResolveWorking with Super Slow Motion in DaVinci ResolveNLE Showdown: DaVinci Resolve vs. Adobe Premiere Pro — Processing PowerLearn How to Fix a Variable ND Filter Vignette in DaVinci Resolvelast_img read more