Questions

So i have the latest PPro and when i create proxies from premiere to media encoder it takes roughly around 30 minutes to do the proxy jobs, when it used to take around 8-9 minutes in the previous versions.Does anybody knows what's the deal with that? The encoding itself works fast and fine. it's only the proccess of creating those proxies from premeire to media encoder takes forever now..

Please can someone assist... i have created a project whereby i have made a sequence by importing 240 images. I can play this back no problem, but would like to reversing the order of the images so that my clip plays forwards and then backwards. Is there a simple way to do this without renumbering all of my individual images? Many thanks in advance.

I edited a short 7 minute movie in premiere and because I'm stupid instead of synchronizing and merging the boom and neck audio at the start of my editing process I came to the fine cut stage and now I need to synchronize all of my wav audio files to the cuts I've made in the movie and I made crazy montages with a lot of cuts. What would be the easiest way to do this in premiere pro? I tried making the audio files offline and then replacing them with the wav which I cut the exact in and out points of the video and that didn't work. I need them to be wav files corresponding with the cuts of the edited movie because at the end I'm sending this to my audio technician.

Hi Team,I have been constantly getting this error. Also, I am not able to change the renderer. Pls help.

I do a lot of 20-30 camera multi cam edits. I always drop all the cameras onto separate tracks, select all, nest sequence, multi cam then enable. It used to say what camera # you were on as well as the file name. Now it just says the file name and it's driving me crazy. How can I get it back?

Hello All, I'm importing a Apple ProRes 422 HQ file with discrete 5.1 + Lt/Rt audio on channels 1-8 (L, R, C, LFE, Ls, Rs, Lt, Rt). Please see attached image for original audio import reference. When I export the file after making a couple edits to the picture, it's not allowing me to retain the source audio as discrete tracks on the revised file. Instead, it's exporting an interleaved stereo audio track on Channel 1. I've tried multiple ways to fix this, including going through Media Encoder and creating a new sequence and assigning 8 audio tracks, but nothing is working. Any advice on how to fix this? Thanks!LostinLaPostProduction

ハードリミッターをマスターフェーダーに入れて使用してトゥルーピークを下げる場合、通常だとオーバーしたトゥルーピーク部分だけがカットされる（縦の変化）と思いますが、intelでもM1でも全バージョンのプレミアで試しましたが、音声波形が1/16程度後ろにズレます（横の変化） これは仕様なのでしょうか？   When using a hard limiter in the master fader to lower the true peak, I think that normally only the over-covered true peak part will be cut (vertical change), but I tried it with all versions of Premier on both intel and M1, but the audio waveform shifts back by about 1/16 (horizontal change) Is this by design?

In einem etwa 3-sekündigen O-Ton-Teil habe ich ein paar Mikrofon-Rumpler. Sprache verbessern hat es überraschend gut wegbekommen. Nur ist das Ergebnis leider zu dumpf und zu laut und passt komplett nicht mehr in den Gesamtzusammenhang. Zusätzlich habe ich diesen O-Ton-Teil um ein Wort zu kurz abgeschnitten. Wenn ich die nur 7 Frames längere Version mit Zusatzwort („Die“) mit „Sprache verbessern“ bearbeite, werden die Rumpler auf einmal nicht mehr entfernt. Sehr mysteriös. Kann ich irgendwo nachvollziehen, was genau Sprache verbessern getan hat, um das Ergebnis per Hand zu optimieren?

As you can see all the other tracks are locked so there should be no interference with the ripple delete. It ripple deletes just fine, but "close gap" just doesn't do it entirely. What could this be for? Is there any way to circumvent this to make it work properly?

I have a feature film and noticed, right in the coloring stage, that some of the clips throughout the timeline have an input LUT that Premiere automatically assigned.  How can I easily get a list of all the clips with the input LUT and then clear the LUT on them?  I'm sending strips of the timeline to the colorist, and it takes a long time to render and then upload to a transfer portal. For the sake of time, I was hoping to identify which strips have the problem, quickly, and then only have to render/upload those strips rather than ALL of the strips. 

I keep getting a Frame substitution recursion error on one of my Productions:I had gotten the error on another Production when I linked to video files on LucidLink. However, with this Production, all the files are on an OWC Thunderbay HDD. I read on a post about this topic that switching to software encoding can fix it; but I'm on a silicon Mac, where it's locked hardware encoding.  Does anyone know how to fix this error? Thanks again.

If there is a moving object in a clip. Is there anyway to find out whether camera is moving or not?

I want to develop  plugin for premiere pro to automaticly edit videos, similar to what AuutoPod does.How do I do it?using python/node/c++/ what is the library I need to access premiere pro functionality like triming video clips and adding keyframes and peocesess like effects etc`Thank you !!

Brand new M4 Macbook Pro, fully spec'd out (128GB RAM), even playing proxies I have stuttering in both audio and video. Newest version of Premiere (25.1). This will be footage from a Osmo Pocket 3, Canon c300 mk3, my Panasonic S1H... it's all like this. I've tried going to Preference/Audio Hardware, and setting the default input to 'No Input' and this doesn't help. You can see what's happening here:https://vimeo.com/1069712653/a95354d9d4?share=copy      

I can't seem to find any official technical explanation as to how Premiere determines what the interlaced pulldown cadence of a 29.97 clip is when you edit it into a 23.98 sequence. Does it work by scanning the first few frames of the clip, guessing the cadence (like how After Effects does it in its Interpret Footage panel), and just blindly using that cadence to remove the pulldown on the rest of the clip? I'm having an issue prepping episodes of a TV show that were delivered to us as interlaced 29.97 DNxHD .mxf files (with interlaced pulldown), and for some reason, some of the episode masters appear to have broken pulldown cadences, usually when a new "act" occurs in the show. I'm not sure what workflow they're using to generate these full 29.97i (59.94i) episode masters, but it causes problems when we try to edit clips from these masters into a 23.98 Premiere timeline, because parts of the master will play back with massive frame-skipping in the 23.98 sequence because Premiere

Has anyone found a solution for how to import a Procreate mp4 with transparent background into Premiere, or even After Effects? 

I know how to remove long pauses in Premiere, but I would rather replace them with shorter pauses.Any ideas how?

Is there a way to tell Premiere where to put the .prin file? My editor likes to keep their project folder super clean. I'd love to be able to use something similar to setting Scratch Disks to tell Premiere where to put the .prin file.

I recently updated windows 11 and now can't access my computer at all. Can I open the project I am working on, on another computer for the time being and continue with the project. Unfortunately I didn't save it externally, so I will need to access what I am up to internally from Adobe, is there a way of doing this?

I imported a transparent .mov animation into Premiere, but it looks like this with jagged edges. How do I solve this?

/ MontereyI just upgraded to premiere 24.6.5 on my macbook pro and it keeps slowing down.  are there some tech specs that I am not aware of or is this version of premiere just bad.  how far can I upgrade in monterey.thanks

I opened Premiere to make a video montage with wav files present in a OneDrive folder. Why do I see that Adobe asks to download other files (for example docx?)

I have a source file of ~250MB, HD, running at ~30Mbps. It's on a Premiere timeline, and I want to export it as a Quicktime file for insertion into Keynote. I want a smaller file because Keynote doesn't reference files, it imports them. And I want to reduce the Keynote file-size. So I did some file-size tests, all h.264, changing the Quality settings… 100% – 547.5 MB75% – 86.3MB60% – 38.2MB50% – 22.3MB Not what I was expecting. I did some quick maths, and the relationship is higher than cubic. i.e. halve the percentage, and the file size is less than 1/8. This Percentage figure which can be adjusted in the Quality setting – percentage of what? 

This may be something super simple, but I cannot wrap my head about it.  I recently started editing using Suite Studios, and for that, I had to change a bunch of preferences in Premiere Pro.  But I still have some current projects that I prefer and need the old fashioned-way, using my external SSD HD.  Is there an easy way to save two different type of preferences in Premiere? I'd rather not go back and forth, doing and undoing the Preferences.

I often build titles from white pages with writings,  that clients give me. I put a colorful background then I export the page into a jpg, apply a multiply opacity to the page. The white color goes away and the writing is all that's left. All is fine unless I want to put a transition with another title constructed in a similar way.  Then the white from the paper show up again during the transition. I thought that nesting the title would  solve the problem. But actually not. Am I doing something wrong or is there a trick I am not aware of? Thank You!