Did you check the specs as to whether that GPU had good long-GOP capabilities?   AMD GPUs haven't had any until very recently, and even tge ones that now do are apparently not always... great ... at it.   Frustrating as it is, but Nvidia still tends to do better there   ... View more

Yes. ... View more

It can, apparently, if you follow the links of this thread and install the codec manually into your system.     https://community.adobe.com/t5/premiere-pro-discussions/no-ac3-codec-in-windows-11-24h2-solution-is-needed/m-p/14974444#M537883 ... View more

The actual question isn't how Premiere treats the files, it's how your OS treats the files. Specifically.   That's the problem, Windows dropped support for that audio format. Which is why the codec must be added to your computer. ... View more

First, yes, that's the levels I was talking about. You'll want at least 5.1.   Above that is the Profile, and again, the lower options in the drop down are higher capabilities.   The 4:2:0 designation is how much color data is kept in the file. You would do well to look online for information.   4:4:4 is full data for brightness and color data. 4:2:2 loses some color data to save file space, but our eyes can't tell the difference for color, as we are far more sensitive to minor brightness issues.    4:2:0 drops more color to save more file space, and is low enough on color data you cannot do much tonal, color, or saturation changes without creating obvious banding on smooth surfaces or macro-blocking.   And once the color data has been tossed, as in going to 4:2:0, you can't get it back. So your original files are pretty low on color data to begin with. ... View more

To start, it's easier to selectcall clips including any separate audio in the bin, right-click, create multicam. Then it's all synced for you.   The framesize and rate are typically then set to match the first clip selected.   Past that, what is the framesize of the sequence you are working with, the framesize of the problematic clip, and your settings in the Preferences for putting media on sequences, such as fit, fill, or none. ... View more

Good idea! ... View more

On forums like this, it is not really 'helpful' to make snarky replies. Especially with those trying to give practical, "how to get around this STUPIDLY ANNOYING!!" behavior until such time as the devs may get to something.   It does not minimize or disagree with the request, it's meant simply as something to help you not feel the need to throw heavy items at your computer screen.   And Stan is one of the most helpful users around, especially in any graphics/text-editing processes. He has amazing knowledge, and is so often available for quick help here. ... View more

Is there a sequence on the timeline when you open? That's what seems to be the case in your screengrab.   As if so, then your project is loaded, it's simply that the Media Browser panel is the currently 'active' one.   So just select a different panel to start working in. ... View more

Because Premiere finishes "assembly" of the file in the final space set for the export. So although there is something there, you are right, it's not yet fiinished.   It's a normal part of Premiere's export process. ... View more

The whole thing with compression patterns like used in the long-GOP H.264 and 265 codecs is figuring out how much is visually lossless, which can very depending on how much motion, how much fine detail, and also how much color data was thrown out to beging with. Add on, how 'big' the display it will be shown on is.   If it was encoded originally as 4:2:2 10 bit, then you can so some color correction and tonal changes and still compress to a medium level long-GOP and still get by with most things.    But if it was 4:2:0 color data initially, then you have much less color/tonal correction work before visible 'banding' and 'macro-blocking' occur.   If it was the 4:2:2, and you're careful of export settings, you might make 2-3 generations before seeing degradation. With 4:2:0, you might make a couple generations as long as any color/tonal work was very minimal, and you use pretty large settings for file size ... meaning higher Mbps settings. A LOT higher.   But it will vary with subject matter, movement, and quality of original file ... so it's not a 'set' thing. You have to test to find what works for that file. ... View more

As Ann notes, that's an issue with Microsoft, not Adobe. And is fixed by installing the codec from the link she provided. ... View more

 In the Preferences there is an option for collaborative working ... how do you have that set? ... View more

So all on a locally attached network.   What are the collaboration settings? ... View more

And how are you working together onlline? ... View more

You can also set the clip's color override to Rec.2100/HLG,  or any log space. It's a tonemapping "thing" it seems. ... View more

Are you using a Team Projects system, or Productions? Or everyone logged onto an old stand-alone project file?   And how are you all online? LucidLink or ... ? ... View more

I think I'm with Carlos here.   While that would drive most users around the bend, I've never seen that in over a decade of use ... so I'l love to see the answers to his questions. And maybe screengrabs of your steps here, drag/dropped directly into the text reply area so they appear in the post. ... View more

Lossless long-GOP ...  um ... now, that's the trick, innit?   Long-GOP formatting/encoding was designed to be as visually lossless as possible, while throwing out a high percentage of file data to create the smaller file size. By intent, it throws out data.   The only way I know to approach full lossless with that format is to set the level and Mbps way, way up, and then you can mostly sort of make it ... but of course, your file size after export is naturally a LOT bigger also. Data takes space, simply put.   Let's see if someone else has another idea. ... View more

That's a massive pain no question. In the past, there was one version that wouldn't work on my hardware until they fixed a bug, and it was about four months I was still working on the older version. So ... been there, done that. Full sympathy!   That said, this is unusual enough that it might be something on your rig we could sort out. But that takes details.   So what's the setup you're running on. OS/CPU/RAM/GPU/GPU driver, and the media you're working with? Let's try to figure this out.   One thing that puzzles people is whether you're in software only mode or not ... have you noticed, they changed how that works? If it recognizes your GPU, it grays out the option for changing things.   So many users assume it means their GPU isn't in use. No, it's in use, but you can't de-use it without closing Premiere, holding down Shift on launch, and selecting the software only option.   So did you disable that at launch?   And a screengrab of the problem would be very helpful. As would one of all the options in the full Lumetri panel Settings tab, where all CM options now live.   A lot of these issues have boiled down to users learning which of the many options in the new color manageme to use together. It can matter a TON if you don't have things set in a coordinated fashion clear through all CM options. ... View more

No, you don't get any video degradation. I don't know how you could. It's not rasterizing. ... View more

Manually create an new sequence with the right framesize and framerate, and audio channels.   Then copy the contents of the current sequence and paste into it.   First though, you might check your audio preferences to make sure the settings for audio tracks are "from file" or mono. ... View more

Typically, load them into the Source monitor, scrub to find a 'discrete' section, mark i/o points, make subclip.   There is now the active search option, where in a bin's Search bar, you type in something like "red car blue dress" and it will find all the clips with a red car and blue dress in them. ... View more

I kinda expected that.      But it's worth the asking. ... View more

Your sequence is clearly set to stereo.   Also, it's best to include the sequence header control block in sequence screengrabs so we can see the audio track types shown there. And just drag/drop onto the text reply area, as then they simply appear in your post. ... View more

Sony mxf files are occasionally problematic in Premiere, no clue when or why. As one possible thing.   Past that, it shows the original was full range though this clip is in limited. I'm wondering if Premiere sees the 'full' in the file header somewhere and goes goofy.   Would love to test here if you could share the file. ... View more

Some graphics (my partner likes Fusion as much as Ae) and color (me) in Resolve, editing in Premiere, I did the basics, partner final edits.   He's in Cape Town, I'm in Oregon, we were doing all media and projects on an Amazon S3 server in London, using LucidLink virtual drive workflows so our computers and apps thought everything was local storage.   He's all Mac, I'm all PC.   We did proxies within both Premiere and Resolve. I did a render & replace of the clips on the final sequence in Premiere to do color on them in Resolve. Exported new clips in Premiere, did the old offline files/locate to the replacement color corrected files.   I actually could have done color on that job in Premiere but we wanted to push through multi-app testing while working. ... View more

Not ... really. Although there is a tool to mush over cuts to remove a short bit, but that's pretty finicky to get a cut that blends right. I use it so rarely I forgot what they call it! ... View more

Happy to help.   Btw, ALL HDR formats are log-encoded. So that HLG is actually a log format.  😉 ... View more

I think the majority of majority films and episodic workflows are built with nests. The ones I've seen often are.   They have sequences per scene or "act", that can easily be moved around to try telling the story in a different sequence of scenes for one use. ... View more