I've known of a fair number of editors who were totally based in Avid, but over the last decade of time have had to either work in both ... or in some cases switch to Premiere.   The general niches are different, but anymore, it's partly the nature of the culture of certain shops. Once you have the muscle memory and operating knowledge for what you do daily down in one app, it's a pain to switch of course.   I work both in Premiere and Resolve, personally. Resolve is so locked-down that if you like their UI it's great. But if you don't, it's frustrating. A good friend thinks it's got the most intuitive UI ever conceived. Bully for him! I keep struggling to remember all the odd places they buried context menus, for instance ... after a decade of use. Sigh. ... View more

And if the issue is lights strobing due to varying electrical Herz frequency, the best fix is probably Digital Anarchy's Flicker Free. ... View more

Premiere doesn't do anything to project or media files ... but it doesn't handle at all well if the OS or another app or the user do anything that changes the folder permissions or file headers at all.   Such as ... a file syncing program like OneDrive could put a 'tick' in the file header telling OneDrive that this file doesn't need syncing, or that it does ... Premiere sees that 'tick' comment it's not expecting, and sees that as a different file than the one it is looking for.   Which is annoying, and I had to do three days of hard work to get OneDrive completely and totally really dead on my computer before I could get back to work. ... View more

 For that specific a question, go to the LucidLink Slack. That is a very active channel, with quite a few small to large project users and staffers constantly monitoring and posting. It's a very helpful Help system. ... View more

Warren's work situation is ... well, rather decently "major" one can assume. To the point he probably can't say much. But it's serious production work with rather major budgets et al. Big teams and from all over the place.   And he's a major asset here, with an amazing array and depth of knowledge including Illustrator/Photoshop/AfterEffects workflows.  ... View more

Oh, we'd all love a more capable Warp in Premiere ... !   ... View more

In my humble experience, anything above 4k really is stressing the capabilities of Premiere's Warp stabilizer. And as that is such a resource hog, you need a lot of both RAM and vRAM.   And the way the Adobe apps are built, the NLE that is Premiere Pro is envisioned as having more general tools, with heavy-duty things in AfterEffects. So it is assumed that the heavy-duty work will be done 'over there'.   I've occasionally had a situation where right-clicking a clip in the sequence, make AE comp, Ae starts up, apply Warp there, and then exporting a full replacement clip from Ae was the best workflow process for that clip.    I don't do much in Ae, avoid it when possible truthfully ... but at times, it's simply the way to get something done now. ... View more

Did you note my reply?   The Autokroma site has the best BRAW support information even if you are using the BlackMagic plugin. Period.   They have quite a few articles and examples of issues and how to fix them, especially for issues with the BM plugins. As there are so many issues with the BM freebie plugins.   Autokroma makes both a freebie and a much more improved paid plugin. As I run multiple BM cameras mostly running BRAW, I gave up on the BM plugin years ago and went with the Autokroma plugin.    Why? 1) it simply works and they provide more options like presets and such and 2) they provide great support ... which I've only used twice in like five years now. ... View more

You do NOT put them in with the main Premiere package/program LUTs ... ever.   Because that internal folder set, in the Package/Program folder tree, is not used by the name of the LUT, but only ... the LUTs relative position in the folder, as in, "12th LUT down".   And if you add a LUT there, and apply it to a sequence ... then add another LUT somewhere above it as computer alpha/numerically sorted ... then you will get a different LUT applied to that sequence. As it will stick with the numeric order not the name of the LUT.   That's why users must use the external folder locations for adding their LUTs to either the Input LUT, Basic Tab, or Creative tab lists. ... View more

Right, Warren. Ain't none of these pro video apps perfect. Well, Baselight maybe closest, but for an NLE, they all could use some fixing. And mods and changes.   Fancy hammers. I just wish they were all a bit less issue rich, shall we say. ... View more

Is is interlaced? ... View more

The current Productions mode of Premiere didn't exist in 2019. At least, that I recall. If so, it was a first iteration.   That's been ... and is being used ... by a number of major movies now, and also is used quite a bit for long-form episodic productions. Is it perfect? No, there's some things in Avid that would be nice to have. On the other hand, there's some things a Premeire Production can do that are pretty spiffy also.   You can't use a Resolve project in a previous version of Resolve ... for most of these apps, you just can't 'go backwards'. Not just Adobe.   Premiere Pro Productions Introduction Using Productions in Premiere Pro Adobe Long-form and Episodic Best Practices Guide  Jarle’s blog expansion of the pdf Multicam section: Premiere Pro Multicam ... View more

Do you have any experience with Productions? In Premiere? ... View more

As a long-time user of both PrPro and Resolve ... Resolve clearly came from it's grading app background. It's not nearly as fully featured as Premiere, especially in things like the variety of keyboard shortcuts.   It's getting closer, and is quite usable for many editing things. But it isn't yet quite as fully fleshed out as Premiere for editing. And as Warren notes, if you work between a few of the Adobe CC apps, there's nothing else quite as powerful out there.   But the three, Avid, Premiere, and Resolve are quite different in UI and functions setup. So, realistically, they're all fancy hammers. Use the tool that works for you.   I have a high distaste for the way Resolve's UI is so locked down, to me totally user-unfriendly. But a good friend thinks it's the most intuitive UI ever. To each our own. ... View more

Subscription versus non-subscription has no effect on stability. Resolve is not subscription and each new major version since around R17 has been less stable than the preceding version.   I think two things are in play here.   First, trying to make a complex NLE that works across all OS/hardware/media/workflow combinations is a ridiculously difficult objective.   Second, hardware makers have expanded the variety and capabilities of their gear and there are more major suppliers. Just for monitor feeding, it isn't just AMD and Nvidia , there's ARC and various iGPUs and others that must be coded for.   It's a vastly more complex job than it used to be.   Now throw in all the machine learning stuff that yes, many are demanding. From text based editing through bin searches through masking that is actually roto capabilities to auto this and that. Add in many different color spaces and gamuts of the media involved and different needs for export deliverables.  ... View more

YouTube doesn't control what any specific device does with the image. Nor can we, actually.   Even if the device uses the appropriate display transform for the media being played, different OS and app settings, hardware settings, hardware, and even the ambient lighting while viewing, all have a major factor in the image as we visually recieve it.   So the apps can be using different options on the same device ... pretty common.   Colorists are taught this maxim to begin with ... some variation on "You can't fix gramma's green TV." And it is really a thing. One network level colorist I was reading about noted that he'd done a really cool car commercial one fall, really shot spectacularly, color was just a kick to work with. He was really proud of it.   Went to his yes, grammas' at Christmas to visit. Her TV was way magenta I think it was ... and he was horrified at what her TV did to his beautifully graded commercial when it came up.   But his gramma was used to everything being off to that hue, so it was normal to her, and she thought the commercial really very nice.  She didn't see the color as being 'off', it was just "normal". Probably that TV had been a bit magenta to start with, and went more so over the years. Typically going green was more common, but the CRTs could go pretty much any direction.   It gets back to two things: first, the Rec.709 specs require that screens do a specific thing to display the image ... that transform that applies a fairly strong contrast curve in the shadows on display ... it's not 'cooked' into the file. So if the device or an app does something different, you get a different image.   Second, it's also a factor of what the the device and screen are set and/or capable of doing. And that also is gauranteed to vary.   As has been demonstrated several times by color scientists and high-end colorists, you can have two "identical" Grade 1 Reference Monitors sitting side by side. Calibrated and profiled (the profile checks the image to see if the calibration was correct) to identical specs ... and fed the identical image from a breakout device/box.   And to the people sitting in the room looking at the two monitors, they will not be the same image. One person will see say part of a screen going slightlly magenta, to another viewer, the same part of the same screen is tending slightly green. That's on one of the two screens.   The two screens will visually be slightly different, even though technically they test identical on very high-end calibration gear. ... View more

Simple. The different apps and devices handle the display transform differently. Rec.709 files require a specific display transform in playing them back. If the app or device does something other, then you get a different view of the image.   Macs without Reference modes (and then only when set to the HDTV setting) all use a display transform of essentially 1.96, which means the shadows are notably lighter than 'expected'.   Macs with Reference modes set to HDTV will use the correct display transform.   Most Android and PC devices/screens will use the correct display transform, but not all. At times due to odd choices by the maker, at times by odd choices in setup from the users.   Depending on the settings in the GPU setup and monitor settings on PCs, some apps will follow those and some override those settings.   So if you expect any devices and apps to show something identical to some other device or app, you're in for a bit of disappointment. It just cannot happen in the real world. Frustrating as that is.   Which is why pro colorists are trained to setup a grading suite very tightly to the specifications in the professional standards ... that nearly darkened (but not black!) room, gray visual surrounds behind and to the visual sides of the grading person's view, a bias light on the wall behind the Reference monitor, the use of a Grade 1 Reference monitor (all of them very spendy) and the use of a breakout device such as by AJA or Blackmagic, and not a feed from a GPU.   Even then, they have more spent on calibration gear and/or pro calibration services than most of us have in our entire computer setup.   So after all that, will they ever be assured you see what they saw when grading?   Of course not! Because it physicall cannot happen.   They do that so that their graded media, on any other device, looks similar to other professionally graded media. Never, ever, to what they saw when grading. ... View more

The playhead is always attached to a frame ... the frame after the blue vertical line "playhead". It is never a 'separator' between frames.   So think about it ... if you go to the end, that actually includes one more frame past the last actual video from the last frame of the media on the timeline.   End is where you go to add more media.   Out is where you go to set an output point to export the current actual timeline. Without that extra black frame. ... View more

It is very easy ... already.   Say you've got three different 'shoots', each with a single camera, plus single separate audio file, all in one bin.   Select all, right-click, 'create mutlicam' ... and Premiere will create three multicam clips, each camera with its own separate audio matched. And it will keep all metadata from the two files. ... View more

First question, is do you have enough space on the drive?    Premiere needs at least four to five times the expected file size in free space on that drive. A long video like that is going to take a lot of space.   So about how many gigs will the file size be? Multiply that times six to be safe, and make sure you have that much free space.   Second, if you have ample free space ... what effects are applied to that sequence?   If you have any Warp or speed ramping, or AE comps, do a render & replace on those clips so the heavy processing involved is done & baked into the sequence media. Then do your export.   Third, if you have a lot of stacked tracks, Simplify the sequence. That cuts a lot of processing down too. ... View more

I've never applied Gaussian blur via an AL ... it's as easily applied directly to the clip for most purposes. But you may have a very good need.   What are you doing with it? ... View more

In my experience, the 'later' clip is shifted forward, never the earlier 'back'.   But then I don't use sync on the timeline much anymore, I just use the multicam process which is actually Premere's primary tool intended to sync camera and second audio. ... View more

I think most of us are getting the better playback ... I am, even on my old laptop. But some are getting total crud like you seem to be. And it can come from several issues.   So giving details of the system, media, and effects used is helpful. A fair number of folks have gotten bad playback going with some help. ... View more

I'm on PCs, and sometimes this happens on launch. Easy to get past.   In the Keyboard Shortcuts panel is an un-assigned shortcut for Transmit Out. I set that to Shift-C so it's a quick one-hand on/off toggle.   And I do need to have it, as if you say have T-O on, switch to another app, the image from T-O occasionally gets enlarged to cover all screens ... I've got four monitors going ... and it is then a pain to get back to correctly working.    So anytime I switch to another app, I toggle off T-O. ... View more

AV1 is a fantastic delivery codec. And because of what they do to get that, is specifically not a great codec for any repeat usage or realistically editing.   How many generations can you go without very noticeable visual degradation? Have you tested that? Just curious.  ... View more

Which OS, and where was it saved?   Have you checked for hidden files? ... View more

Are you using any file syncing app, like OneDrive or ... anything? As those apps routinely can cause this to happen. ... View more

OneDrive and other similar file-syncing apps are a freaking nightmare for NLE working. Because they all change the file header metadata to give themselves information on when a file was last changed for them to use in choosing when to sync something.   Therefore, the file header metadata changes, and the NLEs which track which specific file they are linked to by that same file header, see a different file header. That alone is a potential mess.   Past that, OneDrive can take over the Documents folder, including which apps have what permissions to write into those folders ... and that is a total trainwreck. My current desktop came with OneDrive installed, though I wasn't actually using it.   Then a couple months later, a Windows update somehow changed the OneDrive settings, it took over my Documents folder, and it would not allow any Adobe CC app the permission to write. This totally destroyed my ability to work in any CC app.    I could set Preferences and import keyboard shorts and such ... but only as long as the computer and Premiere were left on. As Premiere couldn't actually write to update those files ... so I shut down Premiere, reopen it, and ... no apps in the Recent, no presets, no keyboard shorts ... it was like a totally new installation of Premiere.   I tried to get control of OneDrive, but ... for two days I kept changing OneDrive settings, but everytime I restarted the computer, it did that nasty thing to me. So I went to remove it.   It took me hours online and three full days of trying removal processes and restarting the computer until I finally got the blasted thing GONE.   I spent a full week doing nothing but eliminating OneDrive from messing with my CC apps.   And no, I will never ever EVER use OneDrive at all. On anything.   So the reason Premiere is probably creating new folders is OneDrive won't let it write to existing folders. ... View more

 Yes ... yes yes yes. ... View more

Yea, "dynamic link" issues are a right royal pain in the patootie. I avoid whenever possible, but for many users, that isn't an avoidable thing. You have to keep comps up, and do revisions every so often.   It would be nice if that link really was as stable as we all need it to be! ... View more