Questions

Input data: Premiere Pro 23.6.0 and Premiere Pro 26.0.0 installed on the same PC with 14600K, 64 GB of DDR4 Ram, RTX 3080, Samsung М.2 SSD. Media: mp4-h264, 4K, 29,97 CFR, 4:2:0.The test performed is here:In this video you can see 2 obvious things: 1) insane lags (actual frame skips) in Pr 26 with silky smoothness in Pr 23, and 2) the difference between iGPU versus dGPU operation.Question: how come? One and the same system, one and the same media on one and the same storage. It’s outta question that before these tests the cache had been deleted and the Premieres started anew. No aggravating circumstances!Opinion: out of all the new features, AI, clever search and generative extend I’d prefer to get the old iGPU over dGPU priority back and have the same fast and fluid timeline performance as it used to be. 

I have dozens of text items that I would like to reposition with one command rather than moving each individually. Is that possible? Using the Master Style tool I can adjust their color and fontof all text items simultaneously, but somehow Master Style does not include any text alignment parameters. Intuitively, you would expect that you could select all text items and then just go to the Effects panel to transform them as you'd do for a single text item. Sadly, that feature isn't implemented. These text items are burned-in Closed Captions that I created manually because the editing of built-in Closed Captions is a mess, but now I'm seeing that the text tool might be limited too. Please help, thank you! EDITED 5/21: for clarity

Hi, everyone, I am an occasional user, so I hope it's just a blunder on my end, but I can't seem to find a solution online for this. I am stabilizing a video footage by using the warp stabilizer. It works (i.e., I can see the footage stops shaking in the preview window) but when I go to File->Export Media; it does not export the effect. It will produce an exported video file, but the footage will be the shaky original. Why?!? All I'm doing is:Creating a new project, draging the video to the timeline, applying warp stabilizer (waiting for it to complete processing), and then trying to export. Do I have to apply the changes or something like that? The tutorials in the web do not seem to do that! Thanks in advance! 

Hi, there how to edit the captions timeline mins and seconds in captions tracks and in timeline mins and seconds for caption and from captions track Thanks KevinThe timeline not right in mins and timeline in captions track and in timeline check in Adobe Premiere Pro 2026 

In Premiere Pro 26.0.1 on macOS, the Export panel still does not open at all.Clicking Export does nothing (no window, no freeze message).Reset workspace, reset preferences, and clearing media cache did not solve the issue.Media Encoder export works, but Export panel inside Premiere is unusable. Premiere Pro: 26.0.1 OS: macOS sequoia 15.7.3  Projects: large 4K projects Hardware: Mac M2 Max 96G ram

Premiere automatically replaces a deleted video file with another file with the same name found in other folders on the drive. More details. I was given two flash drives containing video from different cameras, even from different shooting days. But the file names in the folders are the same. Both are Sony cameras. The files in the first folder start with C001, and the files on the second flash drive also start with C001. I import these files into Premiere. All the files are in different folders. Each camera has its own Composition (Sequence). I start editing. I find the defective shots and immediately delete these files from the computer drive so they don't take up space. Previously, Premiere would immediately display an error that the file is now unavailable (it can't find the file), and Premiere would open a window asking me to find the file manually. I see which files it can't find and then simply delete them from the project. But now Premiere simply replaces the deleted file from

Hi, ​@Mathias Moehl Is there a way I can script a ‘get audio tracks of project item’. It’s not a built in block, but I see the API has a get audio tracks code.I’m still struggling with the custom-code block, but I’ll get there some day.The goal here is to identify project items that have 10 channel audio (or don’t when they should).

Yesterday I closed the big Production that I do most of my work within, to work on a small stand-along project.Today, I’m back to working within the main Production. From the ‘recents’ screen on startup, I selected the Project I was working in before the weekend. It opened perfectly fine, but the Production itself didn’t open. The Project opened as a stand-alone, which it’s not supposed to be, it was created inside the Production. The Production is no long in my ‘recents’ lists, so I can’t open it from that shortcut. When I go to File/Open Production/Browse and select the folder by the name of the Production I’m working in, it warns me ‘The selected folder is not a Production. Do you want to convert this folder to a Production?’.I’m scared to do so, I don’t want to change or corrupt all the files the production was built on.How do I get the Production open again??? How do I find the actual folder that is the Production, if the one I’m navigating to isn’t (apparently) a Production??? I’

My media cache only, as far as I knew, was in one folder location. Now, I am finding the ridiculously oversized audio files all over the place, which is utterly destroying the free space on my C drive. I don't know if this is a bug, but I never used to have this problem.  Currently, I have found in the hidden folder in the main user "AppData" folder under "Roaming->Adobe->Common" in the "Media Cache" and "Media Cache Files" (where it's always been) and also under "Peak Files." The strange additional location that I have no idea why it's putting them there also is under the "Public" user folder in the "Public Documents" folder ("Media Cache" and "Media Cache Files). I have a few questions: 1) How to I find if there's any other places Adobe is putting the files? I need to DELETE these space sucking monsters if there's anymore any place for old projects.2) Why is Premiere making multiple files of these giant sound files and putting them in multiple locations? How

Sometimes I need to delete some effects from clips in the effects control panel. This takes a long time if there are a lot of clips. Is it possible to automate this using Automation Blocks? The same question applies to transitions between clips—sometimes I accidentally press CTRL+D, don't notice, and then end up doing wasted work. 

cross dissolve boxes on clip when mousing over in timeline, how do you remove them? I’m on 26 and this a new 

screenshot of the video I am editingI am trying to add a blurred version of the video to the top and bottom to get rid of the blur and I cannot work out how to do it at all, any help would be amazing!

こんにちは。いつもお世話になります。タイトル通りなのですが・・プレミアプロで作成し、書き出した動画をYouTubeにupすると数時間後にその動画に謎の女性の機械音声が入ります・・しかもそのような機械音声は編集に使っておらず、聞き馴染みのないような機械音です（ゆっくりとかボイスボックスのようなものでない）これは何が問題なのでしょうか。。。色々と調べてみましたが同じような質問をしている方もいらっしゃらず・・

I recently ran into a frustrating issue where adding proxies to the Media Encoder queue was taking forever—not the encoding itself, just the process of getting the clips into the queue. After some trial and error, I may have found a simple workaround that speeds things up significantly!What’s Happening?If your source footage is stored in a folder with too many files, Premiere (or Media Encoder) seems to slow down drastically when adding proxy jobs—almost like it’s scanning the entire folder before adding each clip. This happens even if you only import one single file from that folder! So, the slowdown isn’t caused by how many clips you bring into Premiere, but rather by how many files exist in the folder containing the rushes.The Fix:I found that simply moving each video file into its own separate folder (or organizing them into smaller subfolders) before importing into Premiere makes a huge difference. Then:Import the organized folders into Premiere instead of all the clips from a sin

YouTubeなどを中心に動画編集をしているエディターです。恥ずかしい話、そこまで音の編集に詳しくなく、ラウドネスなどを気にせず、これまで編集をしてきました。 今回、担当している動画の納品書をいただきまして、そこにモノラルでラウドネスを-14LKFS（LUFS）と指定がございました。 チュートリアルなどを見て、ラウドネスの正規化を使用して-14LKFS（LUFS）に合わせようとしましたが、実際は-14.20LUFSという数値になりました。 書き出しデータをPremiereに取り込んでエッセンシャルサウンドのラウドネス一致から測定しています。 こちら、ラウドネスは一致していなくても大体合っていれば、納品して大丈夫でしょうか? また、モノラルの書き出しも初めてで、オーディオの取り込みはモノラル、シーケンスのマスターはマルチチャンネル、トラックはモノラル。トラック上にはA１・２にナレーション、A３・４にSE、A5・６にBGMという形です。ソースオーディオを1chにして書き出しているのですが、合っていますでしょうか? 当初ソースオーディオは2chにしていたのですが、メディアエンコーダーの書き出しの時に、ソースオーディオを一致させてくださいと表示がでたので、書き出し時のみソースオーディオを1chにしています。 ソースオーディオを2chにしないと、プレビュー時にイヤホンの両耳から聞こえないので、そうしてますが、そもそも、ソースオーディオを1chにして書き出しても、2chにして書き出しても、mac上のQuicktimeで再生しても特に変化はないので、どっちでもいいんじゃないかと思ってるのですが、間違っていますでしょうか? 本当に素人でこんがらがっています。 書き出し時の設定もお送りします。最後のモノラル部分、ソースオーディオを増やすと増やせるのですが、増やしても変わらないので、1chのみにしています。 おそらくどこからツッコめばという状況かと思うんですが、ご確認よろしくお願いします。 

I’m editing a video for YouTube which was shot on iPhone. (I work on MacBook Pro, M3) I edited and colored the clips as usual but when I exported it, the file was very heavy and colors almost comically oversaturated, skin was pink, whites was blinding. I moved back and changed the export settings to match the timeline preview (with lumetri completely turned off) and colors and size were back to normal. But I still need to color the video and I saw some tips to turn on the “Auto tone mapping” but this seems to be missing in the v26 version (or is placed somewhere else.). I learned that the Apple pro res uses some wider color spectrum than rec.709, so I changed that too, but I honestly don’t know if it’s working.  In the screenshots are my current sequence and export settings, I’d be grateful for some help on how to get the best results with those clips! Thanks 

I found a training video that uses a blue Matte v1 a video V2, and a text layer v3. The video when running shows a black background to the screen, the text appears as the blue Matte colour.Further in the timeline the video hen appears through the text as an effect.My sticking point is the text is Matte Blue, then transparent to show the video behind. I want the background to be a colour of my choice, NOT black. Any suggestions?Start effectThe end effect is this 

I have markers with durations that I’d like to keep locked on the timeline to avoid grabbing and moving them. I’m not talking about the ripple sequence markers option. I mean, as if you were locking a track.The markers are so close to where you would click to drag the playhead that I sometimes grab them and have to undo. As you can see from the screenshot, when you have a lot of layers, the room you have to move the playhead is minimal.The only workaround I can think of is to create null clip and copy them all to that clip, then lock that track. 

YouTubeなどを中心に動画編集をしているエディターです。恥ずかしい話、そこまで音の編集に詳しくなく、ラウドネスなどを気にせず、これまで編集をしてきました。 今回、担当している動画の納品書をいただきまして、そこにモノラルでラウドネスを-14LKFS（LUFS）と指定がございました。 チュートリアルなどを見て、ラウドネスの正規化を使用して-14LKFS（LUFS）に合わせようとしましたが、実際は-14.20LUFSという数値になりました。 書き出しデータをPremiereに取り込んでエッセンシャルサウンドのラウドネス一致から測定しています。 こちら、ラウドネスは一致していなくても大体合っていれば、納品して大丈夫でしょうか? また、モノラルの書き出しも初めてで、オーディオの取り込みはモノラル、シーケンスのマスターはマルチチャンネル、トラックはモノラル。トラック上にはA１・２にナレーション、A３・４にSE、A5・６にBGMという形です。ソースオーディオを1chにして書き出しているのですが、合っていますでしょうか? 当初ソースオーディオは2chにしていたのですが、メディアエンコーダーの書き出しの時に、ソースオーディオを一致させてくださいと表示がでたので、書き出し時のみソースオーディオを1chにしています。 ソースオーディオを2chにしないと、プレビュー時にイヤホンの両耳から聞こえないので、そうしてますが、そもそも、ソースオーディオを1chにして書き出しても、2chにして書き出しても、mac上のQuicktimeで再生しても特に変化はないので、どっちでもいいんじゃないかと思ってるのですが、間違っていますでしょうか? 本当にズブの素人でこんがらがっています。こんがらがっています…書き出し時の設定もお送りします。最後のモノラル部分、ソースオーディオを増やすと増やせるのですが、増やしても変わらないので、1chのみにしています。 おそらくどこからツッコめばという状況かと思うんですが、ご確認よろしくお願いします。 

I'm mastering a feature film and just ran into an annoying subtitle issue. We were pretty meticulous to match subtitle cuts with video cuts, since being 1-frame off looks like a jump cut. We have over 2000 subtitles, so I exported the English subs as an SRT and sent that off to multiple translators to get all the different language SRT's.As a test, I just reimported my original English SRT back into my sequence and it's 1-frame off. To be clear, the disabled subs on c1 were original and c2 were just round-tripped back in. I open both SRT's in textedit and the timecodes are identical.In the bin, Premiere lists the SRT framerate as 30:00 and the project is 23.98, but I'm under the impression that this doesn't matter since SRT's are based on frame timecode, not framerate. Plus I don't see an option to adjust this.I see no reason why Premiere would mistranslate it's own SRT... Any ideas on why this would happen or a possible fix? I've used timecode shifter apps, but want to understand why

Issue – Text-Based Editing pause deletion does not work in, even though pauses are recognized in the static transcript.Steps to reproduce – Open an existing project. Import video clip with spoken content. Open the Text panel → Transcript → Transcribe sequence. In the transcript, verify that pauses are recognized in the static transcript view. Switch to Text-Based Editing mode. Filter for “Pauses” in the Text-Based Editing panel. Attempt to delete pauses using “Delete All Pauses.” Expected result – All pauses in the transcript should be selected and deleted in Text-Based Editing mode.Actual result –• The Text-Based Editing panel shows “0 results” for pauses, even when the static transcript labels them clearly.• The “Delete All Pauses” button is clickable but does nothing.• Issue occurs in all projects, including new blank projects.Adobe Premiere Pro version – 26.2.0 Beta, 26.0.1, and 26.0 (attempted in all 3)Operating system – Windows 11GPU driver version (Windows only) – NV

I have a project (577.prproj) with 24 nested sequences, many assets, and one main sequence (577).  Using the project manager to archive the project to networked long-term storage, I’m only given the option to check the nested sequences.  The main sequence is not detected.  I’m on Windows 10 Enterprise, Premiere Pro 26.0.0 (build 72).  There are no errors reported.  The problem was clear when I saw that the 577 Masks directory was not included in the archive, but because the 577 sequence was not available in the Project Manager dialog I was on the lookout for problems.Workaround: I’m using the file system to copy the working directory to archive, but that won’t capture files from the project that aren’t in the working directory.   

I am looking for a function that will automatically do exports of a sequences or a batch of sequences, where it does a subtitled version and a clean (without subs version) version to the same folder I dictate, with "SUBS" or "CLEAN" in the file name, additionally, can it also export an SRT file at the same time? Formats will be Match Source - High Adaptive Bit-rate, H.264. This is mainly going to be used to automate outputs across 1x1, 9x16, 16x9 sequences of the same film. Can anyone help?

As you can see from the screenshot below, I have plenty of fonts that are "unresolvable". The question is, how can I resolve this so I dont have this pop up EVERY single time I open up PrP? I have already gone through and modified the text in the MOGRT files and that seemed to do nothing for me as now those fonts are included on the list. I wish they would just allow us to dismiss this for good.  

This project of mine keeps getting plagued with this long and unavaoidable stage of encoding, where it tries to imbue the file with XMP even if I choose to include no metadata.This happens across any version of the software I try, and seems to be attached to the sequence, even when imported into new projects.The only instance I can find of someone experiencing this is someone on reddit who was never answered.This has made a recent delivery *hell*.Ryzen 5800x GTX 5070ti latest drivers