Premiere (Beta)

I'm excited to tell you that today's beta of Premiere Pro - v22.3, build 22 - dramatically improves the playback performance of RED R3D raw files.    In this beta, customers with Apple silicon computers will see the performance benefit. Future beta releases will add the same benefit for customers using Windows. If you work with R3D files and you've got an Apple silicon computer, we'd love to get your feedback on this change.    Regards, Fergus  

This feature is now shipping in the October release of Premiere Pro. Questions or comment about it should be posted to the main Premiere Pro forum: https://community.adobe.com/t5/premiere-pro/ct-p/ct-premiere-pro.    ----------------- In the v23 beta of Premiere Pro, there’s a performance improvement we’d love to get your feedback on. For Apple silicon users, we’ve added hardware acceleration of media in AVC Intra in MXF format. That sounds very specific but it’s actually fairly common. On Sony cameras, like the FX6 and FX9, it’s XAVC-I .mxf files. On Canon, with cameras like the C70 and C300, it’s XF-AVC Intra .mxf files.    AVC Intra already performs well on most recent computers. However, with hardware acceleration on Apple silicon, you should see: Lower CPU utilization during playback Faster output times Smoother playback with multiple video tracks   If you’re using an Apple silicon Mac with this type of media, we’d love to get your feedback.  &

Recovery Mode is now in Premiere Pro Beta!    Premiere makes it easier to recover your work.   After a force quit or crash of Premiere Pro, reopen the application and a message will appear with a ‘reopen’ button that allows you to open your project(s) including changes between the last save and the crash or force quit. No more lost work!       You can save these changes and your original project file(s) will update. You can also revert to the last user-saved state using the File>Revert menu option.    In the local drive project folder, there is now a subfolder called RecoveryProjects with a file for each project. Premiere attempts to save a copy of your project upon a crash or force quit of the application. If that is unsuccessful, Premiere will use the most recent autosave.      We want to know what you think.  Please join the conversation below.     

Editng the text of transcripts is very basic. It would be great to have a Find/Replace function.

There are a number of plugins that can remove silence from a sequence. The most recent one I tested (AutoCut) does not work (Monterey 12.6.4, Pr Pro Beta 23.4.0.43).It would be great to have this as a native function within Premiere's Transcription tools.

We are replacing OpenGL with DirectX12 as the preferred display technology on Windows with the eventual goal of phasing out OpenGL entirely. There are many benefits to DirectX including better stability and performance, and a more modern codebase that is more efficient for us to maintain. But possibly the most exciting benefit is support for Windows 10 advanced color which allows displaying HDR content on an HDR10 capable display. There are some prerequisites to making this work which are detailed below – you must have an HDR-capable GPU and monitor.  If your system configuration does not support DirectX12, it will fall back to use OpenGL as it used to.   System Requirements Operating System: Windows 10, version 1709 or later. Display: To take advantage of high dynamic range, you must have a display that supports the HDR10 standard. Windows works best with displays that are VESA DisplayHDR certified. GPU: Nvidia GeForce 1000 series (Pascal), or newer AMD Radeon RX 400 series

I understand current beta is allowing transcript data to percolate up from nested sequences. Am working with Chinese audio and SRT caption data... I can't re-transcrtibe this. Since captions can't percolate up... (they can only be baked in visually)...is there any way to convert prtranscript to SRT ? I understand the format is intended for word-by-word timing, and also to indentify speakers. But if the format can allow entire sentences to be given a single timecode, I can imagine some sort of tranlation tool could allow this.  Then I could try percolate the transcript up through the nested sequences, and ultimately have an edit that doesn't just have baked-in captions but could also export SRT.

Version: Adobe Premiere Pro BetaWindows Inspiron 77913. Steps: tried to follow instructions for beta useResult: expected to import media and set up autotranscribe. Actual: can't import, sequence or practice editng. And there is no sound at one point in the clip which brings up a yellow sign, stops the playback, and then continues playback.I'm not sure if this is a bug. I believe I imported the Kerstin Interview as a source because it plays. It loses audio at one point, but other than that, it seems to work. I checked the Transcription Settings and set them to ID speakers, since I thought there might be two speakers. However, there's no create transcript button at that point and no way to make this a sequence. So I have no transcript and no way to test edit per instructions. What did I do wrong? Every option in the menus is greyed out except for the few options, and I don't know if this is because I'm in a field or because only certain options are available.

The export panels do not show up after closing and opening the betas, the only way to fix this is to clear the preferences every single time Premiere is opened. Is there any final solution to this issue? much appreciated !

Hi, After the latest update which happened this morning 3/20, playback is sluggish. I get the beachball spinning forever soon after launching the application and starting to play a clip in the sequence. And I'm quickly stuck and need to force quit. Help!

We have improved our display pipeline to provide smoother playback and to reduce screen tearing artifacts. The change is effective in the latest public betas of Premiere Pro and After Effects.The changes we've made slightly increase memory usage, so the improvements are available on computers with a GPU that have 2 GB or more of VRAM.If you have been affected by screen tearing, we'd love to get your feedback on this change.

If I create a mogrt in AE and bring it into PPro, any sliders I added cannot (easily) have non-integer values. For example, I have just made a mogrt where you can specify (in seconds) the time before a piece of text fades off. This would normally be somewhere around 5 seconds...maybe 4.5....maybe 8.3....whatever. But the only way for the PPro user to specify these decimal values is to click on the number and type in the value - not very user-friendly. And then, the value displayed beside the slider is an integer - not the actual value.A solution to this would be if, when creating the mogrt in AE, we had some kind of "precision" attribute we could set, and PPro would respect this and display the value with the correct number of decimal places. And the slider woudn't round the value to integers when being dragged. 

I am able to mark a clip in the timeline. However when I use the Clear Selected Marker command (default keyboard shortcut is option+M) it does not perform the task.

The Tone Mapping option in Premiere Pro and Adobe Media Encoder (AME) is now available as an effect in the Export Panel. This new feature improves upon the previous SDR Conform effect found in the export effects. The Export Tone Map Effect allows users to tone map a timeline or clip to the designated export color space. It provides three tone mapping methods and additional controls for exposure and highlight saturation to fine-tune the tone mapped output. Tone Mapping Methods:   iPhone HDR: Ideal for exporting an iPhone HDR timeline or clip to an SDR export color space. Log Video: Recommended for exporting a log clip in a supported format (S log, V log, and Canon log) to an SDR export color space. Other HDR: Suitable for exporting non-iPhone, non-log HDR timelines or clips to an SDR color space. This option can also be used for exporting a PQ timeline or clip to an HLG export color space. These tone mapping methods ensure the best results when converting content between differen

Dear Adobe Support Team,I am writing to you to report an issue that I am experiencing with my AMD RX 7900XTX graphics card and the activation of OPENCL in Premiere Pro. When I enable OPENCL, I experience significant lag, and the preview barely works.I can only preview 10-15 images before the application freezes entirely. My system configuration includes a Ryzen 7 3700X processor and 32GB of RAM, all hosted on NVME SSDs. I have also updated my graphics card drivers to the latest version. I have attempted to resolve the issue by switching to CPU-only rendering, but the performance is still suboptimal.I believe that the issue may be related to a conflict between Premiere Pro and the AMD RX 7900XTX graphics card. Could you please advise me on how to resolve this issue or provide any updates on when a fix might be available? I would greatly appreciate your assistance. Thank you in advance for your help.

Is the Auto Tone feature being updated in Beta or is it the same in the non-beta version?

Occasionally when switching into the multi-cam mode. The "Media Pending" error fills the screen. The media is obviously there as it plays from the timeline when not in multi-cam mode. I give it time (minutes) to find things and sometimes it works sometimes it doesn't. Running 3 camera sources. All source material on SSD drives. A combination of MXF and Prores footage. All HD. This is a new issue with recent beta builds. Duplicatable on a MacBook Pro and on an iMac.

I spent a good deal of time trying to migrate a big documentary project into a production. Here are my findings on bugs and improvements needed for productions. 1. Reassociate clips don't always work, even when the same clip has all of the same exact metadata. The clip remains in the project you don't want it in. We need to have a media tool, a page just like in Avid where you see all of the clips associated with that Production/Project. Perhaps give each piece of media a unique ID that we can see in the metadata fields. 2. If you move a clip that's used from one project into another, the video and usage shows the correct usage in the original project but then the usage disappears when moved to the new project. Then if you consolidate duplicates, it removes the clip that was moved from the original project. When you go to a sequence and match back in the original project, you get an error saying that clip is no longer in the project. This happens on clips that don't reas

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