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Jim Curtis
Advisor
Jim Curtis
Advisor
Activity
‎Apr 26, 2023
09:46 AM
1 Upvote
I started using Resolve Dec. 2019. It took a few months to adjust to its way of terminology and functioning. I maintain a CC subscription because I still use Ai, Ae, Ps, and AME frequently. I get jobs to update projects I did in Pr prior to my switching, and the vast majority of the time, it's a nightmare. About half my footage is unlinked, even though I haven't changed any file paths. About 3/4 of the time, my Sequence won't even play, even if I turn the fx button off, disabling effects. What is fairly reliable, though, is the ability to do an XML export, and get the f out of Pr to import into Resolve. There's a downside to this though, because Pr has ONE big advantage over Resolve: Nesting. Resolve doesn't respect Sequence in Sequence cropping as Pr does. In Pr, f you make a 680 x 1080 Nest, and drop 1920 x 1080 footage into it, and put that Nest into a 1920 x 1080 Sequence, the Nest is cropped appropriately. You can pan and scan in the Nest, and use the Nest as a Clip, using the Motion effects, and it works wonderfully. Conversely, if you try this in Resolve, the Nest (called a Compound Clip or just another Timeline), the Nest ignores the pixel dimensions of the Timeline / Nest, and displays the full raster of the 1920 x1080 footage inside the 680 x 1080 Nest/Compound Clip/Timeline! It's remarkably stupid implementation on BMD's part. So, I often have to stay in Pr to update those older projects, painful as it may be. I'm constantly gobsmacked that, given all the "improvements" in Pr in the last two years, it's still a dog on my $15,000 MacPro. And, I'm continuously baffled that Pr hasn't implemented a proper Track Matte feature, after all this time.
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‎Jan 24, 2023
05:55 AM
There's a workaround. It shouldn't be necessary, but you can finish your project. Nest your clips, render, import, place the rendered clip on the topmost video track. Go back to the sequence containing the nest, and do your speed ramping on the nest. Alternatively, you can replace the nest with the rendered movie file. It's a PITA, but it works.
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‎Jan 24, 2023
05:27 AM
I can't believe this request only has three votes.
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‎Jan 18, 2023
09:27 AM
Considering how the term "AI" is being misused lately, I wonder if the "AI" used for this app is something that could be made into a desktop app. I could use it. The Holy Grail for audio cleaning is purported to be CEDAR. I haven't used it ($2000!), but I have demoed the supposed next best thing, iZotope RX ($1350), which was nowhere near as good as this Adobe Enhance. If it requires a bank of super duper super computers, that would be one thing. I'd settle for an app that worked slowly, and required round-tripping to the NLE, or was a component in Audition. Of course, the ideal would be a plug-in that did magic NR in real-time.
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‎Jan 11, 2023
09:00 AM
I don't see anything on the Adobe Podcast site that mentions this is a product that can be used locally. The NDA thing is a serious obstacle for many potential users.
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‎Jan 10, 2023
04:42 PM
This is amazing. https://podcast.adobe.com/enhance I haven't gotten similar results with the Pr "Enhance Speech" function, the use of which is described here: https://helpx.adobe.com/premiere-pro/how-to/work-with-audio-voice-over.html Or, is this only part of Adobe Podcast, and accessible only by the web interface? I could use a cleanup function this good, but uploading files could violate NDAs with some clients. I need this function in an app. This service is better than every plug in and software NR I've tried (which doesn't include CEDAR).
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‎Oct 05, 2022
08:55 AM
1 Upvote
Seems obvious to me that Adobe sees the motherlode is selling products to amateurs, semi-pros, dilletantes, social media "influencers," and pod-casters. It's a huge and growing market, whereas the pro market will generally be fairly static and much smaller. They're advertising the Creative Cloud on TV. I thnk they should drop "Pro" from the name if they're not concerned about Resolve taking the NLE market for pros. Given that Adobe made its reputation for color via Photoshop, they should be embarrassed they let it be tainted by Premiere's inferior color correction tools. That's not to say you can't get great color from Pr if your source media was expertly acquired. When it's not is when the differences between Pr and Resolve become more obvious. I urged Red Giant to expand on Colorista, and make it a Resolve-like third-party plug-in for Pr, but they're not interested. I used Colorista in Pr before I abandoned both for Resolve. I saw Colorista as an improvement on Pr's color, if only marginally. All that said, I don't know if the current build of Pr is that buggy on my $15,000 Mac Pro. I only use it for certain small jobs, as I moved the bulk of my work to Resolve in early 2021. I never encountered a job-killing, deadline-missing problem in Pr. I found ways to workaround bugs and crashes. Some were time-consuming. I do think that some of the extreme issues some people report are configuration, plug-in, or corrupt media related. The bulk of my issues were due to mixed and Long-GOP sources. Long-GOP is an abomination for editing. Transcode it all to ProRes or other intraframe codec, and many issues vanish instantly. Sure, you CAN edit with native codecs, but SHOULD you?
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‎Sep 28, 2022
03:48 AM
1 Upvote
‎Sep 12, 2022
11:33 AM
2 Upvotes
I moved most of my editing to Resolve just under a year ago. I have one client who does an annual video. Shooter captures HEVC. I tried his latest footage in Pr 2022, and like last year, it won't play well in real-time, and shuttling is a no-go. I have a super-duper 2019 MacPro, too. I proxied all my footage. Then, I tried bringing it into Resolve. Night and Day. Resolve plays smoothly, and I can shuttle the CTI and don't need to use proxies. Pr seems to have always had issues simply playing unaffected footage, even in the source viewer, with certain codecs. I mainain my CC subscription, though, because I use Ae, Ps, Ai, and AME. I had to update a two year old project last week, and it was a lot easier to do it in Pr, the NLE I used originally, than to transfer it over to Resolve. I do give Adobe props for the vast improvments in captioning. It auto generates pretty accurate text from audio files, and being able to format open captions after creation is long overdue, and much appreciated. I'll keep using Pr for captioning unless or until BMD eclipses Pr with a better, faster tool. Captioning isn't as fun as a barrel of monkeys, but being able to offer a side service to existing clients is a pay generator, and adds to our value as a provider of post services.
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‎Jun 28, 2022
09:20 AM
1 Upvote
Rick, I can identify with some of your issues. Having worked on NLEs since version 2 of Avid Media Composer, an experience that comes to mind is the possibility of corrupt media, which can wreak havoc with any NLE, I suppose, but I have direct expreience with Avid, FCP7, and Premiere. Locating a corrupt file is often a process of moving or deleting media one or groups of clips (so they look or are offline) at a time until the issue vanishes, and then you've narrowed the search for the problem. I've had particular pains with Long-GOP, and I think it's Neil here who's suggested ALWAYS using ProRes proxies or just transcoding all Long-GOP to ProRes for smoother sailing. I second that. The larger my Pr projects get, with several formats and codecs, the more unstable the app gets. Corrupt media can explain how some users have no problems, and others with similar or identical systems can have major problems: They almost never share the same media. I hope you figure it out! Cheers.
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‎Jun 27, 2022
02:53 PM
Hi Andy and Neil, I agree that Pr has a more flexible GUI, but I'm getting accustomed to Resolve's. My main gripes with Resolve at this point are (1) keyframing pans and zooms in the Edit page is a freakin' nightmare due to the way you can only access one parameter's keyframes at a time, along the maddening drift and swings that often accompany pan and scale moves, and (2) the MP4 encoder maxes out at 25 Mb/s. I work around that by exporting a ProRes 4444, and encoding to taste in Pr or AME (some clients demand 50 Mb/s) - another reason to maintain my subscription to the CC. I'm also still scratching my head over the position units in Resolve's version of the Pr Motion settings, Pr's being more intuitive. OTOH, Resolve has a useful track matte, which Pr inconceivably STILL doesn't have. It would be even more useful if keyframing was better implemented. Different tools, yes. And, a place for both. It's good to have them both in the toolkit. For freelancers, it's a generally great idea to know how to run any (commercially viable) NLE if you plan to work at a client's facility or in a workgroup setting. I've noticed that most of the job postings for editors in my area are specifying Pr experience. Edited to add another comment: Andy commented about how he feels effects and transitions should be upgraded to use the GPU, and more of them with each "upgrade." Totally agree. The most useful transitions I've found for Pr are from a third party (FilmImpact), who claims they're all GPU accellerated. I loved them up until they switched to the monthy ransom model, which is a paradigm I abhor, despite more and more companies moving to that business model. I don't miss them in Resolve, which has better implemented transitions with eases and borders that the basic stone age transitions in Pr lack. I don't use the garish transitions. I prefer the basics, but easing is a must for sliding in GFX and other elements. And, I agree with Andy, that updating basics like this shouldn't depend on user requests. Adobe should just assume their customers want an NLE feature set on parity with the alternatives.
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‎Jun 27, 2022
10:38 AM
1 Upvote
I'm just glomming here to sympathize, because I'd been thinking the same since the 2018 version of Pr on OSX, which was the most solid build on my computer ever. I bought a $15K MacPro in Dec. 2019. Pr 2018 was the last version that supported my OpenGL GPU, and most of my subsequent issues had been with inferior perforumance with Apple's Metal. And as you experience, Pr crashes and corrupts its own prefs multiple times a day. I wrote "had been" because I switched to Resolve for the majority of my editing about a year and a half ago, and keep my CC subscription current because I still use Ae a lot (which unfathomably still only offers 8-bit support for many of the nativive effects), and Pr for some utility functions, and to update older projects I did on Pr when those come up, if they're minor enough to make a complete project export to Resolve untenable. I also wanted to agree with you that Adobe keeps adding features that old guys like me don't welcome. I'd gotten along fine without any of the "Essential" panels that seem devised to attract novices and YouTubers. I suggest Adobe call that version "Premiere Amateur," or just "Premiere," and make a version of "Premiere Pro" that is not only rock solid, but a Resolve competitor and an app with no bloat. Adobe takes so much pride in color technology, but can't seem to make Pr a competitor in color correction, nor a built in DAW that's anything like Fairlight in Resolve that doesn't require a silly export and rewrite of audio files going out and back into the NLE. To that point, BMD did what Adobe did by combining separate preexisting apps (NLE + color + DAW) into a mega-app. The difference is that BMD did/does it a lot better. The only advantage I see to Pr at this point is the Dynamic Link to Ae, and even that has been pretty buggy for me up until I abandoned Pr that I solved by rendering everything in Ae and only using the Create Ae Comp in Pr for the export to Ae, then replacing the clip in Pr after rendering it in Ae (That also eliminated the constant rerendering I was having to do in Pr.). I count only one downside to using Ae with Pr vs. Resolve that has to do with Resolves automatic background rendering (which is awesome), which can be disabled, and eliminates the issue. Honestly, IDK how unstable Pr is today, because I don't use it that much any more. I upgrade to the latest versions with abandon because I have a backup (actually primary) NLE that's reliable. I also wonder how much attrition Adobe is losing to BMD over Pr's instability. BTW, I did a job last month in which the client wanted open captions on a deadline, and the functionality for automating that in the latest Pr was impressive, which made the choice to use Pr for that pretty obvious. I'll even admit that having the Essential Graphics pane that allowed me to format the text to my liking was very useful.
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‎May 16, 2022
07:33 AM
1 Upvote
As I wrote, I've switched to Resolve for the bulk of my work, but I worked on-site at a convention last week using my laptop (MBP OSX 10.15.7). I worked with the newest version of Premiere, and had no issues. My decision was based primarily on the client demand for open captions under a deadline. The new transcribing audio to captions feature in Pr is fantastic! It's even smart enough to capitalize company names and departments and services that are usually capitalized. Very cool.
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‎Jan 19, 2022
01:31 PM
I can't export any movies from 22.1.2 OSX without getting error messages. I can XML export my sequence, open in Resolve, and it exports without errors. Just one of the reasons I'm switching to Resolve.
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‎Jan 19, 2022
01:25 PM
4 Upvotes
OSX users can use a suite of apps by Digital Rebellion that includes some handy utilities such as a Pr project downgrader, and a corrupt clip finder, Preferences and plug-ins manager, OS utilities, and several more. I've used it for years and found it very useful. Free upgrades, too.
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‎Jan 03, 2022
04:38 PM
There are apps and extensions for browsers specifically made for downloading from YouTube. Airy is one made for OSX. There are others. Agree about respecting copyrights. Fair Use may apply, and you can find out about that on copyright.gov for the USA.
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‎Nov 15, 2021
02:06 PM
Are all the videos identical, except for there the transition occurs in time? If so, you can stack the video from two videos on V1 and V2, and change the blend mode (under Opacity) to Difference. That should turn the video black, except where there are differences. You could then shuttle/scan your timeline and find the transistion fairly easily.
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‎Nov 10, 2021
07:53 AM
I infer you're on Windows because you say you can't drag and drop a Sequence into a Scquence, yes? I'm on OSX, but my understanding is that some drag and drop functionality on OSX isn't available on Windows; but I'd be happy to be corrected, if I have that wrong. Have you tried dragging a sub-Sequence into the Source Tab, doing your channel maping, and editing into your master Seqence as if it's a video clip?
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‎Nov 04, 2021
03:19 PM
I have a colorist do my color work in Resolve. I use Project Manager to transcode my clips to ProRes4444. His files come back at 75% of the file size, and I've determined that his ProRes4444 files don't have the alpha channel, but mine do. I tried exporting the same Sequence with "Preserve Alpha" checked, and then unchecked, and both options exported files with a useless alpha channel, 25% larger than necessary. Is there a way to to use Project Manager to export intraframe in 444 color space? Cineform YUV 10-bit doesn't cut it (It’s 4:2:2.).
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‎Oct 29, 2021
08:18 AM
I did more experimenting, after reinstalling Catalina 10.15.7 last night, hoping to rule out OS corruption as a factor. I dragged some .mxf 4K into a new Sequence, applied a Lumetri Color Effect, and then pasted the effect to all clips in the Sequence, and hit Play. The Dropped Frame Indicator lights up eventually, although it stays green for longer (one or two minutes) than with scaling or any native effects applied. GPU load averages around 25% with the Metal renderer selected. I also opened several older projects that have 4K .mxf sources in HD sequences. Name supers are PNG w/alpha, Lumetri Color applied on most clips, or an Adjustment Layer. NONE of my older projects would play without either dropping frames or the video freezing when the CTI enounteed video + Lumetri + PNG with alpha super. This is typical of most of my work for my biggest client. And, again Pr CC20 (14.9) plays these Sequences wiht aplomb - my guess due to far superior OpenCL support and / or better coding. One issue I haven't encountered so far with CC20 is Pr not crashing when I try to open more than two projects. That's been my most vexing issue with CC20 (14.9).
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‎Oct 28, 2021
03:30 PM
Hi Kevin. No, deleting both caches* has no effect on the lousy playback. But, thanks for the suggestion. You know, I'm no babe in the woods concerning Premiere troubleshooting. *Besides the cache location designated in the preferences, there's an additional cache in the User>...Application Support>...>Common folder. I bet a lot of people don't know about the second cache folder. I keep aliases to both caches on my desktop for easy cleaning. I clean both frequently. I've attached a screen shot of the file path on my computer. I notice that when I first hit play, my CPU meters peg for a few seconds, and my GPU meter registers a very low load. Looks to me like Metal and GPU rendering isn't happening at all. Again, this is with all the FX disabled. Also, Pr seems to be locking up my whole computer for up to a minute or two accompanied by the spinning color wheel. This happened three times between yesterday and today, and was caused by dragging the CTI. That's pretty bad.
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‎Oct 27, 2021
05:03 PM
Once again, I did a totally clean install with a fresh set of preferences. I IMPORT and old project into a New Project. I load an HD Sequence that contains 4K .MXF footage. I disable the Effects via the Enable / Disable Effects button in the Program tab. I enabled Dropped Frames Indicator. I hit play. The Dropped Frame Indicator changes to yellow from green almost instantaneously. Inevitably, video playback just stops, and I can still hear the audio playing. I stop and start the Sequence again, and the pattern repeats ad infinitum. If I enable FX, I get absolutely no real-time playback ever. My system is powerful and should be able to handle this no problem: MacPro7,1 - 2.7 GHz 24-Core Intel Xeon W - 256G RAM - AMD Radeon Pro Vega II 32 GB - ATTO R680 PCIe SAS SCSI RAID6 (8 drives - very fast) - OSX 10.15.7 The same Projects and Sequences play in real time with NO FRAMES DROPPED in Pr 14.9. There have been NO improvements to Pr's real-time playback performance since this 14.9 - a version that's two years old. I still suspect all my problems are related to the lack of OpenCL support, and Adobe just can't figure out how achieve parity with Metal. There is little to no difference between using the Metal renderer and Software Only in terms of real-time playback. This is very discouraging.
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‎Sep 26, 2021
08:55 AM
OK, don't take my word for it. After working with Pr since CS5, what I've learned is that as my projects get larger, and more and more assets of different codecs are added, that's when Pr gets extremely unstable, Projects and Sequences become corrupted, and it starts crashing like it's fun and games. OK, fine if I'm working on a small project with one type of compressed media, I may risk it. But, I can't recall a project I've cut in Pr that has had compressed sources from several different types of cameras and audio recorders that were trouble free. Highly compressed Long-GOP video media from still cameras and cheap video cameras are the worst. I'm in the end stages of a project where I was getting kernel panics from XAVC footage from a Sony A7s. It would play OK in a Sequence, but several times when I tried scrubbing the CTI, kernel panic. Bad news - all unsaved changes lost. They only stopped after I transcoded it to 1.7 TB worth of ProRes. So much for "native" editing. Yes, it's possible that the OP's crashes are coincident with adding new media and some other factor (the straw that broke the camel's back), but in my decades of working with computers since the first Mac Plus and many types of software has taught me that if everything was working OK until you added something, that something was the problem. Think Occam's Razor: Don't unneccessarily complicate explanations.
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‎Sep 26, 2021
08:25 AM
It looks like several of your clips on the timeline have the same source clip. If so, you can apply effects to the source clips and avoid Adjustment Layers. Just load a source clip into the Viewer, and paste or drag the effect onto it. You can use the same Effect Controls on that clip. If you want to tweak it later, just select the clip in the Timeline and use the Sequence > Match Frame feature to adjust it in the Effects tab.
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‎Sep 26, 2021
07:53 AM
You have answered your own question. If Pr stopped acting right up right after you imported something, that something is the problem. Pr hates compressed formats like Long-GOP, MP3, etc. despite what Adobe claims as being friendly to most types of media. For best performance, get used to transcoding EVERYTHING you import into a lossless or lightly compressed format. Either transcode (to ProRes, DNxHR, WAF, AIF, etc.) before importing using AME, or use the Ingest feature to transcode after you import into Pr, although I think doing it beforehand is less likely to cause problems. Just having bad media in a Pr project is asking for trouble.
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‎Sep 26, 2021
07:45 AM
Those blank areas of your screen make me suspect a GPU issue. Try reinstalling your graphics driver.
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‎Sep 26, 2021
07:43 AM
All or some of my render files have routinely disappeared from the timeline so often over the past few years, that it's almost remarkable when I open an older project and all my render files are still there. You are probably going to have to re-render to get them back. You can also consider Exporting your Sequence with Same as Source, and import that into the Project, and add it to your Sequence in a new video layer. That's not ideal when you still have more editing to do. I haven't cut a feature yet in Pr, but those disappearing renders would be super annoying when render times are long. Most of my work is ten minutes or less, and re-rendering is just a nuisance I've learned to accept.
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‎Sep 23, 2021
05:09 PM
Solved it by moving the CLIPS001 folder (which contains all the .mxf and related files) out of the CONTENTS folder. Weird, huh? I tried to delete my post, but I guess your reply made that impossible. Yes, I have tried all the 15.x versions of Pr, and found them all unsatisfactory, mostly due to the lack of OpenCL support and staggeringly inferior performance under Metal. I was using it for captions, but the latest version botched those up, too - reshuffled the order, deleted some. Pretty frustrating. Thanks.
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‎Sep 13, 2021
07:15 PM
1 Upvote
Hi, DS. Yes, certain sections play without frames dropping, such as when there's one instance of Colorista IV. But, as soon as the CTI hits a spot with a PNG super, or an additional effect, it starts dropping frames and keeps dropping them. Once the Dropped Frame light turns yellow, it stays yellow, unless I hit the spacebar twice. Then, depending on what the section I stopped on has going on, it may stay green for a few seconds before turning yellow again. I've been given mostly 4K .mxf footage recently, shot at 23.976 that I'm using in 23.976 HD Sequences. But, I'm seeing the same poor Metal performance with 4K ProRes 422 captured on an Atomos Ninja, and that codec is eaven easier on the GPU than .mxf, IINM. What kind of computer are you using?
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