2 problems when dragging a sequence into another project

[amira42169914]

Yellow line bc lut on one sequence in project A, but when I drag this sequence into project B (or drag the edited clips into a new sequence in project B) it turns red. What in this transfer confuses premiere so that a simple lut or any other fx suddenly becomes an unplayable burden in a different project?

a second question (regarding the same operation, and is perhaps related) for those kind enough to answer: If I have all the relevant clips imported in project A, and I drag an editet sequence from project B (consisting of those same clips), premiere re-imports those clips into project A, even though it already inhabits those very same clips; I end up with a duplicate series with varying metadata. Should there not be a more elegant way?

Thank you to those who can help

[Byron Cortez · Accepted solution]

It would be nice to know the preview settings of secuence B already created or if you're creating it with the same secuence A, as well as if you're applying any effects that aren't GPU accelerated.

[Jeff Bellune · Accepted solution]

Do you have hardware acceleration turned on in Project B's settings?

[R Neil Haugen]

Those projects do not share databases. A project is actually only metadata about what you're doing within the program. So if you take some bit of work from one project and import it into another, Premiere must move the metadata from the involved items into the second program.

Now ... if you use the Productions model, with all your projects within that larger Production framework, then it doesn't need to duplicate the meta from one project to another because within a Production the meta is always shared.

Neil

[amira42169914]

Thank you gentlemen for your wisdom.

The inconsistency was indeed the renderer in project settings.  

May I ask about the new Productions-feature that Mr Haugen mentioned? Can it be recomended to a solo editor (on a single station) soon to make a 2hrs+ timeline? I have been dreading the consolidation of hundred sequences across dozens of projects into one super-project, involving several TB of media. Is this perhaps the way to go, or is there a different method to consider? What used to be the strategy of feature-lenght editors using PP before Productions was introduced? I tried the Consolidate & Transcode-feature, to shave off 90% of the media (as I usually work with dual 90min 4K video-strips, becoming 2-3min, x 40+ projects), but the result was unmanagable due to too many micro-cuts (+ the size was arround the same as the raw footage with DNxHR-format).

Any suggestion is of great help.

[R Neil Haugen]

I'm a solo operator, and my projects tend to be rather small in relative terms. And I'm solidly in the Productions operation. Why?

I make a Production for the year. It's actually a folder on disc, with the Premiere Production file in it. Then from that Production panel/folder, right-click and make the sub-folders (that are also real on-disc) of my working structure ... my clients and personal project lines, and within each, subfolders as needed for organizing that project.

In those folders I create projects by right-click/create projects. Projects are used not to organize stuff ... you use folders for that ... but to hold stuff.

So ... my audio library is in a project, and I've got b-roll in projects, and other assets in projects. And all can be accessed to be used in another project without duplicating assets in project files.

As within a Production, Pr can simply reference the 'home' of any asset, and when it needs, access the meta of that asset from its 'home' project.

It's just slick as all get out. The only time I ever make a stand-alone project is when I need to test something for someone and don't want to 'keep' that project file.

Neil