Can't help, need information.    OS/CPU/GPU are standard troubleshooting data and needed in this situation.   Especially since the Nvidia 50 series GPUs are a horrible mess that Nvidia said they'd fix with a driver on September 30, but it was only a gaming driver and did not fix video post issues.    They've now said October 14. ... View more

In the Effects Control Panel, right-click and "cut" the mask, then paste it where you want it. ... View more

Not enough information to even guess for me. A bunch more information, plus screengrabs of the sequence in the Timeline panel, would be ever so useful. ... View more

Sadly that wasn't all that useful, as 'we' don't have a clue what codecs you're not able to import. And produced by what.   Premiere is designed primarily as a video NLE for camera produced media. And works with most camera made clips. Some of the raw clips, like BlackMagic, do require a plugin to use in Premiere.   Even most screen recording apps can make clips that work fine in Premiere as long as you don't choose certain options. I use OBS a lot for recording tutorials, and use the mp4 option there without troubles.   So ... what specific format/codecs are not working for you? ... View more

Thanks for the clarification.    Having worked with partner who is all Mac, we're all PC, we found there could be problems especially with external drives depending on how they were 'docked' on Macs, or named/setup in Windows. It can be a picky mine-field at times to get that sorted.   We ended up going to straight LucidLink hosting our joint projects, and setting up the virtual drives it makes on our computers. That is rock-solid, but ... it is certainly not available when the problem is within your own computer, like yours is.   Sadly. Hope you can get this sorted, it's some sort of drive/folder recognitions or permissions issue. Personally, I really don't like dealing with those. ... View more

On the Export page, there is a drop-down with options to export whole sequence, work-area bar, or in-out range. Which is selected for the export? That will control the export area. ... View more

You can set a wide array of timeline colors now. Go to the Preferences and try say Vivid, and you can modify to your heart's content. ... View more

Nearly the entire Nvidia "50" series GPUs have issues, across all video post apps, and the Nvidia rep that came onto this forum back in mid-September said they'd have a Studio driver out on September 30th that would fix things.   They only released a gaming driver, not a Studio one, on the 30th, and it works for at least a few but not nearly all users.   And now they've said the release for the Studio driver to fix the problems will be around October 14, another couple weeks. ... View more

Many items in the full color management setup are interactive ... so please, it would be useful to nail this down if you gave the full CM settings you are using ....   Screengrabs of the entire "twirled open" Lumetri Settings tab would be so useful, even if just to try and replicate the problem.   Everything from the Project down through Sequence and Clip, please!  And thank you ...  ... View more

User to user differences in UI "understandability" are simply a thing. I work in both Premiere and Resolve daily ... Premiere isn't so bad, Resolve ... a decade of working in it, and I still struggle to remember where all the context menus are hidden across the app. Among many other issues with the UI there.   But a good friend thinks the Resolve UI is the most amazingly wondrous, natural UI ever made. To him, it's freaking obvious where everything is, and why it's there and not elsewhere.   We look at each other and ... smile. We are never going to agree on UI construction. ... View more

I'm thinking it may be the difference between pre-multiplied or non-mutiplied alpha. I know Premier doesn't always like one but never remember which it is.  ... View more

Your points are well taken, but one clarification ... this is not an Adobe specific issue. It is happening across all the video post apps. It's Nvidia's mess, totally and completely. ... View more

I'm going to guess that if you used the ProRes proxies, this would not be an issue. Due to the massive computing difference between actual video frames in the file (ProRes) and bits and pieces of frames here & there that need putting together, in a string of 9-70 or more frames at a time, just to display the next frame on the screen. ... View more

Thankfully I don't have a 50. But they only released the gaming driver, not the full Studio driver needed by Premiere. Sadly. ... View more

That gets into the weeds far enough I hope a staffer will chime in.   The 'normal' thing is for the originals to be added, then proxies either added (if camera produced) or created by Premiere. Working starting from proxies, going to originals later, is a different process.    I wonder if the old method of offlining to relink would be the better process here ... if everyone has the proxies, using them as the originals, expecting to select all/offline, then relink to the actual originals.   I do know that for some teams, the 'owner' has the originals, everyone else the proxies. I haven't personally worked that way in 5-6 years, so I'm not comfortable commenting on how to do it. We once upon a time did that successfully though.   For the last four years, we've used the Productions mode via LucicLInk for all 'team' remorte work, so my use of TP is kind of ancient at this time. ... View more

Please go to the documentation for Team Projects and closely read the section on media management.   Media management in TP's is not exactly the same as 'normal' stuff, although it's not as completely different as it was five years ago.   But still, if you don't do it correctly according to the way it's set to work, you can not only screw up your own but other's linkings also. ... View more

When you get a timestamp for an error, go to that timestamp.   Sometimes you need to rebuild that short section, or reapply an effect. Or nest the clip then apply the effect that was on it, which can solve process order errors. ... View more

That would be very annoying, but I can't replicate. PC here. Win 11. ... View more

As Stan essentially notes through his links, it is assumed the user is creating content professionally for distribution.    No special arrangement needed. ... View more

It's fine to make suggestions. I think everyone posting here does. But it is one person's idea, and everyone else will have theirs. And can comment about the idea.    Plus at times there are reasons in idea would not be a good thing for others, or frequently, there's already three way to quickly do what is suggested. ... View more

Definitely agree that it's more of a pain, as it's more steps to get to. ... View more

I replied to your other post.   And there's a ton of problems with the 50 series cards if you search the forums ... for this and Resolve and whatever. ... View more

The 50 series Nvidia cards have been a disaster across all video post apps. The Nvidia rep on the Adobe forums posted a week ago that they hope to have a fix in the driver to be released on the 30th ... which is tomorrow.   Search the PrPro forums and you'll see the tons of problems. Some users have rolled back a driver or two, some changed settings in either Windows or their Nvidia card, and some have RMA'd their card and a replacement worked.   So ... maybe tomorrow? ... View more

Not nearly enough information to even guess.   Of course troubleshooting always starts with data ...OS/CPU/RAM/GPU and the type of media involved in the project, as often somewhere in there is usable data to help nail down the specifics.   And in this case, what workspace are you using? Is this a built-in workspace, or a custom saved one?    What panel disappears, and is it a normal panel of the workspace, or one you have opened 'floating'?    ... View more

Hey, don't worry about being a "nooby" ... everyone that works with one of the pro-level video apps is a total noob in at least some areas, if not the majority, of the full capabilities of these things!   For some things on a couple apps, I am definitely considered a bit of an expert. But on most things in both apps, I'm still working to remember how I got it to work the last time I used that 'thing'. Because we all tend to do certain things and avoid the things we don't know that much about. Just to get things done and out of the shop.   So you're just part of the group! And welcome, keep asking, and keep trying. ... View more

If you export to ProRes or a DNx, does that go to completion? ... View more

I didn't see any difference between quality in the pre-CC era to after. Except they actually have fewer issues blanking out large sections of the users now than 3-4 years ago.   Back in days of Yore, "we" would pay the $650 or so for a new box version with no idea how it would work on our machine. That was always ... exciting, shall we say. It's far more flexible now for using a build that works on your machine.   And if you don't find it usable, go to another app. I use both Premiere and Resolve, although I really dislike Resolve's UI. But some good friends LOVE that UI so cool.   I personally don't see getting emotional about large corporations. They build tools. That's all. ... View more

What MyerPj has suggested is technically called "top & tail editing" as you trim the front (top) and end (tail) of the clip.   It's blazing fast as set the CTI/playhead to the place you want the clip to start, hit Q, and it cuts from there to the beginning of that clip, closing any gap to the left of it.   Go to where you want the clip to end, hit W ... and again, it removes from that frame to the end of that clip, and closes any gap to the next clip.   Very, very fast method. ... View more

If you want to use the ancient LUT, it's fully available to do.   Select one or more clips in the bin, right-click/Modify/Interpret Color ... and apply that as an Input LUT.   Now probably set the Sequence CM to "direct Rec.709" and that should be it.   Ta-da, done.   However ... that LUT is expressly designed for a Rec.709 workflow, from their website information. So that's why I said use the Direct Rec.709 option. That LUT maps the values within the Rec.709 possible values.   In fact, it both rolls highlights and lifts shadows ... tonal mods ... while de-saturating a bit ... chroma mods. With the idea that the user then can push the media out as far tonally and chroma as they wish.   At that point, there is no use in using the ACEScct working space as you've already narrowed the media down to well within sRGB.   Using their wide gamut workflow, the clips would be seen as Sony log by Premiere, you can set the ACEScct working space, and it will use algorithms ... not a simple LUT, but so much safer for your pixels ... to remap to the ACEScct working space, keeping all of the original data intact ... and if you then set the Sequence Output color space to Rec.709, you see in the monitor the image prepped for Rec.709 export.   So it's mapped to ACEScct via mathematical algorithm built with Sony participation, designed to keep all data ... you apply color corrections in the ACEScct space, and the data is then remapped to Rec.709 so you see the proper output view.   LUTs can clip or crush if your field produced media isn't very close to the media exposure/contrast the LUT was built for. Algorithms by design cannot do that. They are complex mathematical formulas, and Adobe works with the camera makers to build specific algos for their cameras.   Yes, the initial look is different ... but there isn't any "perfect" LUT, as all exact mathematical transforms are completely backside-ugly wihout aesthetic choices in building the LUT. And the same is involved in designing algos ... technical and aesthetic considerations must both be involved.   The algos do give a solid base for modifying the image ... and if you like the specific look of that LUT, it is certainly possible to fairly quickly rebuild that in Lumetri and either save as a LUT or preset, and then apply that to a bin of clips.   Certainly there's no reason to do that clip by clip! ... View more