Premiere (Beta)

PP23.4.0 BETA (build 15) MacOS 12.5So AME, like PP, has a global 'auto detect log color space' toggle in General settings. This is NOT LINKED to the PP 'auto detect log color space' setting and also appears to be locked in at the moment the sequence is 'sent to media encoder' - either by direct keyboard command or via the export tab. (i.e. if you change the AME AutoLog toggle after it is in the AME queue the interpretation in the sequence export will NOT be changed) Thus it is VERY LIKELY that exports that are sent via media encoder will NOT MATCH the levels/colour in PP unless PP and AME have the same AutoLog settings. I think these settings are per machine - so in shared environments would need to be set across all machines and also would need to be re-enabled if/when preferences are reset. I can see this getting very messy on bigger shared projects with multiple editors with multiple source colour spaces. Maybe the AutoLog setting should be with the ToneMap choic

Took some EBU HDR colour bars - inserted them into an existing Slog3.Cine3Gamma flagged Sony XAVC MXF file (thanks to Avid insert edit export) - then put in a 709 PP timeline to see what the results of various AutoLog and ToneMap options are. Mostly a science experiment so I could get my head around what is occuring - but maybe useful to others figuring out the workflow. The original bars are not designed for Slog3.Cine3Gamma, so the colours will not land on vectorscope targets, plus the export is to a PNG file so levels may be clipped where they wouldn't be to a YUV file. NB the GIF shows inline when I edit - but not when message is posted, so attached as file.

The current setup for log-encoded media can work fairly decently. Without too much extra/wasted steps, click, mouse to keyboard to mouse movements. The auto-tonemapping for instance works quite well with some clips, decently with others, though not so good with other clips, at least as we need them to appear.   But the current ... process, not a system really ... has a couple inherent failings. At least, as far as being able to work quickly and smoothly.   You must know the precise log format from the list in Interpret Footage that will work for each clip. And all clips need to work either equally well, either all with, or all without auto-tonemapping.   In an Ideal world, that would be the case. But often we get say something that we think is from a Canon, it's log, but ... what log? No way of knowing. There's two options, very different in effect. You simply have to guess.   Or it's a Sony clip ... with what, three options?   And how about from something log-

Any idea when the Metadata & Timecode Burn-in effect will be moved into the public version?  The obsolete timecode effect in version 15.4 does not interpret footage correctly and leads to a ton of extra mouse clicks to get the correct timecode settings. 

The October 2022 release of Adobe’s video products adds support for ARRIRAW and ProRes files from the ARRI ALEXA 35.    But we’re not done! We are working on several more ARRI-related features. Two are already in beta and we’d love to get your feedback on them.    The first is improved support for anamorphic footage captured in ARRIRAW. We now recognize the Lens Squeeze Factor entered in the camera. This value appears in the Interpret Footage dialog and can be changed as necessary. We've tested this feature with anamorphic lenses with a 2x squeeze factor. If you're using anamorphic lenses with a different squeeze factor, we'd love to hear your experience.  The second feature in beta is hardware acceleration for ARRIRAW. This makes the playback of ARRIRAW footage smoother and works on both Macintosh and Windows computers. It also works with all ARRIRAW footage - not just from the ALEXA 35 - and applies to both .mxf and .ari ARRIRAW files.    Your feed

Steps to reproduce:1. Work on a project in PPro, with the program's zoom set to 100%2. Save & quit3. Relaod PPro, load up that projectResult:Zoom is set to "fit"Expected:Zoom should be as I left itNot a major bug, but a minor inconvenience. System info    Application: Premiere Pro (Beta) v23.3.0.2    OS: Windows v10.0.19044, RAM: 127.92 GB GB, CPUs (logical): 32

When trying to reach the "Export" interface it just shows the loading animation. Also using Export -> Media does not switch to the Export interface System info    Application: Premiere Pro (Beta) v23.4.0.10    OS: macOS v12.4.0, RAM: 128.00 GB GB, CPUs (logical): 20

For those of you that have tried Text-Based Editing, we are hearing lots of good feedback from you. Please also fill out our survey so that we can confidently launch in Premiere Pro. https://forms.microsoft.com/r/f86uf84b4g   If you haven't tried Text-Based Editing, check out the tutorial here:  https://community.adobe.com/t5/premiere-pro-beta-discussions/now-in-beta-introducing-text-based-editing-in-premiere-pro/m-p/13552305  

Hi! Whenever I am extracting text in the text editing feature of my video, it keeps jumping ahead to a random spot in my sequence after every single extraction, so I have to constantly scroll back to find where I had made the extraction and try to keep going from there. Please help! This is majorly slowing down what could be a wonderful assembly editing process!

In Premiere 23.0 we’re changing the default preview codec for most new sequences created from media to Apple ProRes 422 LT.  The previous default was I-Frame Only MPEG.     We’re making this change to improve playback and export times when working with rendered preview files.  In most cases, ProRes is a better choice than MPEG for rendered previews in terms of video quality and playback performance, although the speed and hardware acceleration available on your system will also come into play.   Note: This is only a change to the default setting for preview codec for most sequences.  You can always change your preview codec by going to Sequence > Sequence Settings and selecting a different format and codec in the “Video Previews” section.   Why ProRes LT We chose ProRes LT because it's a good middle ground regarding data footprint vs quality.  It's a very close match in terms of quality with MPEG, so you should not notice any quality degradat

This feature is now shipping in v23.2 of Premiere Pro. More information is available here.   ------------   In this latest public beta, Premiere Pro introduces automated tone mapping for HDR (High Dynamic Range) video to SDR (Standard Dynamic Range) video workflows.   Tone mapping works with iPhone HLG, Sony S-Log, Canon Log, and Panasonic V-Log media, as well as media that is in HLG and PQ color spaces.   TWO STEPS TO TONEMAPPING   Tone mapping is done in Two-Steps. First, you set the clip’s color space to the wide gamut color space it was recorded in (like Sony S-Log) in the Interpret Footage dialogue.           Then you must drag that clip to a Rec. 709 timeline. Tone mapping will automatically be applied, but you can confirm that “Automatically Tone Map Media” is checked in the Sequence Settings:         SOME CLIPS INTERPRET AUTOMATICALLY, SOME REQUIRE YOUR INPUT   iPhone HLG clips are automatically detect

Hold down any of the following keys during launch to bring up this dialog (Command, Option, Shift / Control, Alt, Shift).  You have the choice to reset any or all the following options: preferences, media cache, plugin cache, and also bypass third-party plugins from loading.  Savvy users already know about these troubleshooting steps, but we have combined them all into one dialog to make it more convenient.   The corresponding key used to bring up the dialog will auto-select that setting in the dialog (e.g. using ‘Option/Alt’ to bring up the dialog will auto-select the ‘Reset app preferences’ checkbox.  You can also combine keys that will result in multiple options selected (e.g., ‘Shift + Option/Alt’ will result in auto-selecting ‘Reset app preferences’ and ‘Reset plugin loading cache’).  Once the dialog is up, you are free to make any selection you like.   Shift                          &n

I've loaded an MP4 file -- several of them -- that are clear and understandable with good volume levels. The transcription window has all kinds of popups -- auto transcribe, something unreadable because  the words are wider than the button ... The blue transcribe button does nothing. Clicking on the three dots lets you pick "Static transcription." It runs the little progress graphic for about 3 seconds and ends without transcribing anything.  Steps to reproduce:    1. ... Result: ...Expected: ... System info    Application: Premiere Pro (Beta) v23.3.0.41    OS: Windows v10.0.22621, RAM: 31.93 GB GB, CPUs (logical): 16

새로운 인라인 입력 방식 에디터를 소개합니다! 이 에디터는 프리미어 프로 모니터에서 자막 작성 시 추천 단어들을 보여주고 입력할 수 있게 해줍니다.   이 새로운 기능은 중국어, 일본어 그리고 한국어 작성 시 보다 나은 환경을 유저들에게 제공할 수 있습니다. 그리고 이미 포토샵과 몇몇의 다른 어도비 프로그램에서 지원 중인 기능과 매우 근접합니다. (애프터 이펙트도 추후 이와 비슷한 기능을 지원할 예정입니다.) 한국어 입력 글자 키를 누를 때 초성이 입력됩니다.  초성 작성 후 나머지 글자를 입력할 때 글자는 소리 나 단어에 맞게 정확히 입력될 수 있습니다.  아직 한국어는 추천 단어가 자동으로 나타나지 않지만 한 번 정확한 단어가 작성되면 입력이 됩니다. 스페이스 바를 누르거나 새로운 단어를 작성하지 않는 한 그 후 바로 새로운 글자를 작성할 수 있습니다. 프로그램 모니터에서 한국어 인라인 입력 방식 에디터 창     입력 방식 에디터를 사용하실 때 글자 밑에 파란 줄을 보실 수 있고 이는 정확한 글자 구성들을 보여줍니다. 현재 글자를 입력하면 파란&

I have just found this bug (in February 2023)...and how to reproduce it and how to fix it:How to reproduce it (in version 23.3.0 BETA Build 35 on Windows 10)1. Do a ctrl-alt drag of a clip to swap its place with another clip2. That's it. If you then try to drag/move any clips in the timeline, the pointer turns to a 🚫 "no way" symbol and the clips are immovable. It's still possibe to trim, copy, paste and all manner of other things, just forget about dragging a whole clip around. How to fix itAs someone suggested in this post, docking the timeline panel into another panel fixes it. You can then drag your timeline panel back to its original position and everything's great again.