Are you working in a company that has many CC licenses ?  ... View more

The free utility app MediaInfo is very useful for troubleshooting here on the forum ... though the site is a bit of a pain at first to figure out where to get that app rather than the adds on the page. It's pretty standard to use for checking both video and audio metadata from the files so a very useful tool.   Wav files would be normally the best option for Premiere, I'm wondering why those wav files are an issue. I've haven't tried recording in Win11, just got the desktop upgraded to the blame thing, so I could try here. But I'd love to see the data from yours.   So if you do install MediaInfo, simply drag/drop a wav file onto the app's desktop icon. It opens and select the "tree view". Do a screengrab of the metadata it shows, and drag/drop that onto the text reply box so it shows up directly as an image within your text, and we don't have to click to open something separately. ... View more

Did you install the Adobe Creative Cloud app? The process is to install that, then use that app to install any Creative Cloud apps your plan allows. ... View more

Oh yes! ... View more

Old stand-alone project mode or Productions ... which is designed for long-form use?   Local media or network storage? If network, what type and all the details?   Media produced by what cameras/devices? What format/codec, and is this 'spanned' media? ... View more

I've used OBS for years, and never had an issue with audio. Using the standard mp4 recording out of it. So ... in detail what are your audio settings in OBS? As something in there must trigger Premiere.   And I'd love to get a file-transfer to test on my rig of a clip doing this on yours. Just for further sleuthing on what the hay is happening. ... View more

It's the nature of the compression format used. No compression format seems to be without some potential issues, but the ones the do the most compression for some odd reason seem to have the most artifacting/blocking issues. Gee ... wonder why ...   😉 ... View more

I've been working in both Premiere and Resolve for over a decade. I work for/with/teach pro colorists. And prior to that I had years of experience processing and printing film. So yes, I had 25 years of fighting that crud.   Premiere and Resolve use GPUs differently and both are optimized for the way the app uses the GPU. Resolve was created as a grading app that has had editing and audio abd Fx stuff stuffed into the app to try to compete as an NLE against Premiere and Avid. Both of which are generally considered still a bit better as an NLE than Resolve.   So strictly for color, yes, Resolve is better optimized for using the GPU. In other areas, no notably so. In general editing work i don't see anything better in Resolve use of my GPU.   As for "perfect" film emulator, as someone with years of film experience, that's a hoot. There isn't nor can there ever be one.   For movies, normally shot on negative film and then a print film made from that... you had *at least* two different emulsions to deal with, and that's not considering any internegatve that might be used for some clips or scenes.   EVERY batch of every emulsion type ever made was different than any other batch of that same emulsion type. Which is why you had to buy a massive quantity of reels to make sure all your reels were one emulsion batch. Color timing a print to get something usable was as much guessing art form as technical demands.   Due to the damage done to a master by printing a couple hundred release prints, the view that later prints gave was very different than the first few prints   And past that, pick any shooting and printing emulsion pairing. Say 5247 and one of the several then in use print stocks..   Look up the movies using that pairing. As noted colorist Marc Wielage notes, and remember he did the color timing on some ... you can have 5247 with fine grain, raised blacks, fairly low saturation, and rolled off whites. A number of mid 70's movies fit that.    But in another movie shot on 5247, and same release print, you have dark shadows and definitely blacks. Heavy saturation. Nearly harsh highlights. Massive grain.   So, seriously, I'm curious, how do you decide what is a "perfect" film emulator? When any one pairing could be all over the place? Not being snarky, but very interested in your thinking, as we are all different.   I know several big name colorists I talk to at NAB and other things, none of whom know of any "perfect" one. They will use different emulation routines and software for different things. Fascinating discussions around this topic abound. ... View more

No reason to go above the media as you're not adding anything.    I would suggest doing separate exports at 150, 100, and around 75 Mbps  and variable bitrate, as then you only have actually needed data.   Upload them without the naming being clear about tge difference to anyone else. Ask a couple people to view them abd tell you their impressions. ... View more

One of the truly counter-intuitive things about the streaming services, apparently both YouTube and Vimeo, is the higher the bitrate you upload, the more they compress the file. And that more compression actually reduces final "visual resolution" and induces artifacting at times.   So moving the bitrate up and down to find the spot where you get best final results is needed. I've seen one major b-cast type editor say for 1080 files he still doesn't go over around 10Mbps. And of course scales that up by relative pixel count of the framesize.   Weird, but the guy gets good results. ... View more

What is the computer ... OS/CPU/RAM/GPU/GPU driver, and what is the media involved?   Without that it's wasted time. ... View more

I can imagine that laptop users with trackpads only would love it.   Those really built on keyboard shorts won't hardly ever use the menus anyway.   And those of us with full desktops as our main rigs ... really don't get benefits from this at all.   And thanks, hellopaul, for the well written response. I have also posted major rants at times, but am aware that is mostly a self-release thing. To get something considered, a post like your latest is a gem. ... View more

I'm somewhat familiar with this in PCs, not though in Macs. The permissions and such are similar but different.   And we had enough trouble getting anything to work smoothly ... Dropbox, WeTransfer, a couple others ... and ended up going to LucidLInk which sets up a virtual drive on the computer that works across Macs and Pcs (our partner in Cape Town is all Mac) and just works.   Some people have been able to work sort of with Dropbox synced folders, but many have to use Dropbox as essentially a transport service but copy the files to another local folder setup.   It seems about everyone's process is a bit different. ... View more

What's the format/codec of the audio? I am guessing it is something Premiere doesn't work with. ... View more

Folders controlled by a sync app like Dropbox are bluntly problematic for working in an NLE. Sometimes the NLE simply doesn't get 'permissions' ... and often, the syncing process changes data in file headers to track when they've been touched and/or synced, and that change can make NLEs think the file isn't the same one they last accessed.     ... View more

I think you've got the situation nailed, Stan. I can replicate that behavior of course. But not the ECP itself.   One does need to close the Edit windows, pure and simple. ... View more

That is just awful, bizarre behavior ... yowza! It's rather unusual, and in some ways, that can make it more difficult to sort ... sadly. I'm running some of the same media on PC, and don't have an issue. Nor are many others posting here.   So I do hope a staffer can go back through your stuff and get some help! ... View more

Did you contact LucidLink about this? There shouldn't have been any hiccups even with 400 Mbps service. And as noted in my other response, their support on Slack ...    lucidlink-community   ... is incredible, fast and very helpful. ... View more

I've used LucidLink since the "proof of concept" days. My shop is in Oregon, all PC, two of us, our partner is in Cape Town, SA, all Mac. Our entire Production/media/fx and etc. 'lives' on Amazon S3 servers in London.   We both now are running around 400-450Mbps up and down solid, I used to run 250+ though without a problem.   Mo is one of the most amazing Ae wizards I have ever been around, and well ... I know quite a number of "known" people, and he puts out complex but visually amazing things in minutes. We've layered tons of tracks of sound effects, multiple UHD video, and with it all seen by our computers as on a local drive ... as LucidLink handles things through a 'virtual drive' on the local machine.   He's called me via WhatsApp to tell me he is uploading media and files to our filespace, I'll go into my virtual drive and yep, they folders are already there. Within a few moments I get filenames, and when I do, I can import those to Premiere and throw sequences together, including playback.   And the upload isn't even finished from Cape Town yet!   So ... given my experience, and my knowledge of the crew at LucidLink, who give the best service this side of Omniscope, what were the problems? I'm really curious, as this process is used by most of the really massive major long-form projects around the world ... media from set uploaded nearly 'live' to the project servers, and editors hitting the rushes minutes after they're uploaded. During the day of the shoot.   Did you ever go on their Slack channels about them? The users and staffers tend to respond near instantly in our experience, for the very few times we needed assistance. ... View more

Every file normally has several date/time fields in the file header. Premiere uses one specifically, and that is at times a differnt one than is used in other apps. Each different date/time field may be used by certain apps for specific date/time information or expectations. And yes, this can be confusing.   Depending on how the user has setup their OS finder/explorer for the field typically shown for date/time, again, Premiere may or may not be using the same field.   In Bridge, if you go through the total options for metadata types, so you see all potential date/time fields, note the one that aligns with Premiere, and which ones don't. ... View more

Try basic troubleshooting 101 for Premiere ...   1) on launch, hold down Shift key, in the pop-up dialog select delete all cache files, allow to start.   If that doesn't fix it,   2) on launch hold down Shift, delete cache, trash preferences, and don't load any plugins/extensions, all those options.   See if that works. ... View more

@Ann Bens  or @Averdahl or @Richard M Knight ? ... View more

Your GPU is rather ancient, though it looks like the Turing cards still get the newer drivers ... what driver number are you using?   Next, your CPU does have internal processing for long-GOP, but ... isn't a particularly new/hot CPU. So "adequate" I guess.   Now ... what you're wanting to do is to process up to 20 tracks, simultaneously!!!!... of the nastiest format/codec out there for editing purposes ... that is something you need to understand.   To play back one track of that, the computer must process, create frames for, and store between 9 and 50 or more "partial" frames, both in front of and behind the 'current' frame. Note that the vast majority of frames have only a number of pixels in them ... much of the image is from another frame, and so the computer needs to mesh frames from several frames to create the next displayed frame.   That is why colorists ... who have typically 'heavy iron' hardware that dwarfs yours, do not want to work with long-GOP for grading ... and typically as soon as they get such from a client, do a transcode to say ProRes422 or something, that they will import and grade with.   Yet editors, with much lesser machines, want the original long-GOP to "just work".   With a really, really high-end rig you might get 10 or more tracks of H.265 to play back ... maybe. Other than that, proxies, rendering sections of the timeline, or t-codes are what are the practical working methods for you. ... View more

We have no way of knowing what your problem is ... do you like one better than the other, or how to match them, or is this input or timeline or export question ... or ... what? ... View more

There can be issues with the occasional gif, jpg, or png file, depending on how that file was created and the options used for creating it. Hard to tell in advance. Sometimes taking them into Photoshop, and simply re-saving as the same thing or similar will get a file Pr will work with ok. ... View more

Ah, the issue is with a single GIF file? ... View more

This is primarily a user to user forum, with staffers monitoring and posting a lot more than they used to. I would hope you get a staffer jumping in.   In my experience, bug reports are used internally, but are not so often replied to. Which can be frustrating with a situation like yours.   And it's clear you are having a horrible experience, but it is not one that most users are having. Which suggests that something that hasn't been figured out yet is mashing your machine.   I'm all PC, use quite a bit of OBS output and some phone media in my work, and am not having any troubles whatsoever. So finding the details of what is causing that hot mess you're stuck with at the moment will probably require some troubleshooting.   For a first question, have you created a project in say 24.x, and if so, does that work correctly? ... View more

Ahh, yes, theatrical would want a 24p ... but most broadcast is still 29.97i in the US, hence my query.   So at this point, one can justify about any of several working scenarios. In general, though, for 29.97 to 24, I'd do what the b-cast folks I know tell me to ... just drop the 29.97 on the 24p timeline, let Premiere do it's thing. ... View more

If you are working with the viewer gamma set in Premiere, either the 2.2 or 2.4 setting. adjust that according to the brightness of the room you are doing color work in, NOT whether it's done for "web" or "broadcast" usage.   That's what that change is by the standards expected to be used for. Pretty dark room as a colorists suite, use gamma 2.4. Brighter room around normal 'room' lighting, use gamma 2.2.    If you are exporting on a Mac (one without Reference modes set to HDTV) then checking in VLC or Potplayer, you would not use the gamma compensation LUT. And anyway, with the viewer gamma option, there is no real reason to continue using the old process of the gamma compensation LUT at export on Macs. ... View more

What is the destination use for this project?   So what deliverables will you need to create at the end? ... View more