Hi, folks...I've been using the 1050 Ti for several years. I just upgraded my system (in November) to i7-8700/32GB DDR4 RAM and of course new M/B (ASUS PRIME Z390-A). My current experience is that the 1050 Ti is now the bottleneck in my system. It works...but occasionally I have a jittery picture and very occasionally the image goes completely black. The only fix is saving, exiting, reopening PPro. I believe the card is the cause because when experiencing these items I open CAM Desktop and the GPU is showing 100% usage. I think that the 768 cores and 4GB VRAM are just not enough. I'd love some recommendations from the great people here who could tell me: my inclination is to upgrade, perhaps to RTX 2060 or 2070. 2070 would double my VRAM and increase core count to 2304. 2060 is $150 less (coming soon, not yet released) has 1920 cores, 6GB GDDR6 VRAM. I guess my questions are: Will I likely get fewer session failures with one of these cards, 2) given that I'm not a gamer, "only" a video editor, will I get enough bang for the buck to spend the extra $150 shekels on the RTX 2070 vs. the 2060, and 3) by making this move, am I significantly future-proofing myself? Thanks... Jay ... View more

Jeff: I agree with the concept of what you're saying but not with the drastic statement. I always do the following when a new version comes out: 1) RETAIN the older version, 2) ATTEMPT to open and save my prior work in the new version. If there are persistent problems, instead of swimming upstream to try to work in the new version, I continue to work on older project in the older version while sharing my problems either here in the forums, with Adobe Support, or both (and note the problems in what used to be the Bug/Enhancement Request area but has been seriously enhanced in the Feedback page). More often than not, the problem will be fixed in a subsequent minor update. Not being able to apply new features to existing projects would be a serious downside to the program, although having to wait from time to time until minor revisions fix sometimes-unavoidable issues with older projects is probably a lot better than waiting many months more for virtually ALL possible combinations and permutations from older projects could be tested. The saving grace here is that we are always prompted to save with a new name when opening an older project in a major product revision. Only after thorough testing, saving and re-saving several times would I take a project originally named x.prproj which I would now save as x_2019.prproj (I DON'T like the _1 they set as default) and overwrite the original file. ... View more

...so here's an interesting little addendum to your suggestion: No matter how we remove the keyframe (i.e. blue stopwatch) from our timelines, saving and closing the project will bring them back. One short test (exporting about 5 minutes of video with multiple clips and Lumetri effects) opens the possibility that once they've been turned off the magic is done even if they've turned on again. A LOT more testing needs to be done of this theory that these keyframes being active is causing some or all of the Lumetri export errors. I do agree with you that, given you're having the same problem with far more powerful GeForce cards than mine, Kevin's theory that my problems stem from an underpowered card doesn't ring true; I think we're in agreement that some instruction or combination of instructions being generated by Premiere and/or AME are erroneous and causing our video cards to throw errors. It's not clear why Premiere likes to have these stopwatches activated on every sequence even when the user is not using any keyframing anywhere in their project, but it appears to be woven into the Premiere fabric for some reason or another. Thoughts? Jay ... View more

Faster, though (I just did this and it works fine)...make a preset of Opacity without keyframing active, select the ENTIRE timeline before editing (in case you might NEED keyframing somewhere - I do use it from time to time) and apply the preset. Same result, much faster. Will be trying that going forward. I'll be applying Lumetri to a sequence and outputting it this afternoon...we'll see how it works. UPDATE: So I removed all Opacity keyframes, set some fairly complex Lumetri (the new color-match feature in multiple clips among others). I then exported about 3 minutes. It DID NOT fail. So far so good. You may well be onto something. So...shouting out to Kevin et al, staff or advanced forum folks...do we have ANY idea why the Opacity stopwatch is set to On (blue) in every clip by default? NO other stopwatches are to my knowledge set unless a user sets them. It's fine if it doesn't get in the way, and it's relatively easy to correct with a preset, by copy/pasting attributes or by clearing them in the Effect Controls panel. But if it's actually getting in the way, as my colleague above seems to think and as I seem to have borne out, it should be turned OFF by default so we don't have to 1) bother and 2) find out the hard way that the default is actually hurting our projects and/or exports. I'll hold off a few days marking this as a bug/enhancement request to give others a chance to chime in. Thanks! Jay ... View more

"auto-offing"...what's your system for that? I can see setting it off in one clip and then copy/paste attributes to the rest. Is there a faster way? ... View more

Hi, Explorographer... Ironically, the section I started with was very simple and straightforward and didn't use any Lumetri. Since i know that opacity keyframing is on by default, I will certainly try turning it off where I use Lumetri and see if it corrects the issue. Any thoughts why that might work? Jay ... View more

Kevin, I tried this and it failed out of the box. I set: Video previews to GoPro Cineform with Alpha (you didn't tell me WHAT FLAVOR CineForm to use; this is trial/error). I set the size to UHD (3840x2160) or it's going to export HD only. I exported to GoPro RGB 12-bit with Alpha and specified Use previews. FAIL. Am I setting something wrong?  ERROR TEXT: Export Error Error compiling movie. Export Error Exporter returned bad result. Writing with exporter: QuickTime Writing to file: N:\Premiere projects\Amore\TRAVIATA 2018\0525 A2Tgt_1.mov Around timecode: 00;00;00;00 Component: QuickTime of type Exporter Selector: 9 Error code: -2147287036 Additionally, this added 62.3GB to export a test section of seven minutes. I FINALLY found the article you were trying to send me to on your personal website. Is it REALLY suggesting that I export all my XAVC-S footage from the HDR-AX100 and the new HXR-NX80 cameras to CineForm with a QuickTime wrapper before editing? I REALLY am at sea here. I don't HAVE 100TB of space to store my files. Would I be better off just getting a new GeForce 1070 with 8GB? Would that solve my problem? I have been able to do these with my current setup before, but as Adobe advances versions and adds features it leaves what used to be a powerhouse setup in the dust. I also feel that there are codes that are in the export file that the GPU just doesn't understand and that's why it's throwing errors, not that it's "underpowered". If I'm right, the user who called Premiere a "beta product" has a point. And if I'm right, adding more juice as I suggested above won't help the GPU understand the instruction any better; it would require the engineers working on Lumetri and the export engine to write code that works and doesn't throw errors. A typical error message in my log says "Error compiling movie; Accelerated Renderer Error; Unable to produce frame". Doesn't say "out of memory" or whatever. That, to me, says "The instruction I was given didn't tell me how to make the frame, I give up". BTW it was EVGA that told me I didn't need more than the 1050Ti with 4GB to do what I'm doing; now you're saying that's underpowered. It's disheartening and demoralizing. ... View more

Kevin, many thanks for this. I'll give it a try! It does appear that it will take a lot more storage space, at least until I do my final export to standard mp4 which I DO need to do. Thanks.... Jay ... View more

It kicked the problem one Lumetri iteration down the line (gave me about 11 minutes more video before it failed). So far the only reliable way to solve the problem has been to get the GPU out of the equation if using Lumetri. It adds significantly (not disastrously) to the processing time but I'd like to see the problem fixed so that the performance is faster. In answer to Matth, I don't think Premiere is broken as much as the versions we're seeing are more like late betas than fully functional  final versions. I'm not sure it's avoidable given the company's schedule of upgrades. It's virtually impossible to test the program's every nuance in every possible equipment configuration. It works well unless/until something breaks. Finding a workaround until the program engineers hopefully get around to fixing it is a real break even if it takes more time to process. Jay ... View more

Correct. Except for the Import sequences natively, the rest are defaults I've never had a reason to change. So you hope correctly. Jay ... View more

Neil, I reset the project to run with the deselection you recommended. I got another fail, although it happened 11 minutes later into the file. Both points were camera switches with Lumetri effects. This project is multi-camera (using a Sony FDR-AX100 and a HXF-NX80; there's a strategy to the camera selection). I do the video controlling the AX100 (which I've owned for 4 years) by hand and manipulating the focus, iris and zoom (rarely this) of the NX80 (recently purchased) with an iPad. The results are amazing! No one's seen small-company opera done like this. I also take full advantage of the 4K footage and make sub-images set up as separate cameras cropped so there appear to be six cameras where there are two. I've done single-operator two and three-camera theatrical setups before (always using proxies - thanks, Adobe, for making that so easy for the last few iterations!!) but not being able to change particularly the iris makes the results problematic. The ability that Sony built in to the NX80 and its bigger cousins to spot-focus and MOST IMPORTANTLY set the iris remotely via iPad/Smartphone is a major step forward for me. The scene in the opera where the error is appearing, the Wolf's Glen Scene (DER FREISCHUTZ), is lit dimly, in a way I need to correct with Lumetri. Latest update: I WAS able to get the project to render correctly. As soon as I TURNED OFF CUDA, it worked fine. This limits the issue to: a) my particular graphics card (doubt it) b) the 1050Ti in general and its processing of AME's commands c) The command being sent to the GPU by AME being inimical to the GPU (but NOT the CPU when GPU is removed from the equation). Did I miss anything? Out of caution, I logged this as a bug with both Adobe and Nvidia. I SUSPECT Adobe but can't prove it right now...we'll see what happens. Again, thanks for your help... Jay ... View more

Should mention here (even though this thread is old) that this can happen when to correct other issues we "blow up" our settings profile which (in Windows) is at users\_username_\Documents\Adobe\Premiere Pro\[Version_no]\Profile-_username_\Effect Presets and Custom Items.prfpset. I just had this happen - another error caused me to rename this folder to 12.0 old from 12.0. Because I did that, the file of the above name was preserved, and when Premiere regenerated the folder (and corrected the error which caused the program to crash predictably under circumstances not relevant here) because I didn't delete the previous folder those settings were there just necessitating that I replace that one file. The lesson here is when appropriate rename, don't delete! Hope it helps someone... Jay ... View more

I had a different unrelated issue and a TS agent went through my machine and changed all the relevant permissions. Those guys know exactly which folders to expose and change, and it's quite laborious! Anyway, since that happened, I have experienced massively faster processing. I guess the issue, then, is why the Installers for all these programs aren't properly programmed to change the appropriate permissions (they get Admin privileges when they launch so they have the authority) and if one or another is deemed impossible to do automatically the user should be pointed to a set of instructions as to exactly which folders to modify manually. Hope it helps... Jay ... View more

Note, please, that that was MY solution and someone else marked it correct...for what was happening six years ago. I haven't had the issue happen in that many years myself, so it may well be that the problem you're having has a different origin. We BOTH may be correct. And wrong! Since it's not my issue any longer, I can't reproduce it. It WAS both correct and an answer when it was written. ... View more

I'm having this, too. I note that other users are complaining about renders from AE and I'm talking Premiere Pro; I do think this is the right topic since both programs render in AME and the complaint is slow processing. If someone wants to move this feel free. Granted I'm processing MP4s of 4K files but the times are WAY longer and the amount of processor and memory taken up WAY less. My system is Windows 10 Pro, 32GB DDR-3 RAM, i7-4770K. Files are written to a 30TB RAID. Video is GTX 1050 Ti with 4GB. I have all but 6GB allocated to Adobe. I notice that the system is using far fewer resources than it did in past versions. RIght now, I'm outputting a 4K file at "high bitrate" of an opera I recorded this past weekend (i.e. brand new project) on my Sony FDR-AX100 camcorder. The file is 2 hours 6 minutes in length. I've done these where processing is between 4 and 6 hours; this one now predicts 17 hours. There's nothing new in my system architecture, the type of video I'm using (had the AX100 since it came out in 2014) or anything else I can imagine. All software is CC 2018 completely up to date. What could this possibly be? ... View more

This is just what I needed to know. It means that the functionality is there but the use of merge functions with Word might be more amenable since those fields are variable in length. Thanks so much for the tip on changing the names of fields and the fact that doing so will repeat the contents from the first named field - oh, and the fact that a form field will replace the text underneath it. That's great. It makes me much more able to answer his questions. ... View more

I'm sorry about that, I'm just used to a lot of tools I'm used to in Premiere being supplanted and they're marked "obsolete". I note this is not the case with this one in Audition. I wish when they come up with something that's supposed to be "adaptive" (presumably better i.e. more intelligent) they should make clear its limitations. Clearly, it's not meant for my application (too complex, I guess). Anyway, the harp/flute duet is gorgeous and much less noisy. Thanks! ... View more

Just wanted to let you all know how well Steve's suggestion worked! What I had forgotten about the performance with the most noise: The system A/C failed that day and there were numerous fans aiming air into the auditorium which of course contributed to the noise. The multi-pass suggestion (applying concepts that I would have had NO other way to discover) worked admirably, reducing the noticeable noise not quite to zero but enough so the listener won't have the experience ruined. Thanks to all. ... View more

Wow! I'm heartened to have gotten so many great responses! The company involved is a small New York City organization with a large heart and not a lot of money (I am also a sometime opera singer and appear with the company). We have had several venues during our seven-year existence and have in fact landed in one that seems to be friendly and attract a good audience. However, there is no orchestra pit and as mentioned a significantly noisy air-handler system. They strain to pay the rental fee on the two extra cameras (but recognize the amazing results - I can work some magic with 4K images, panning and zooming on them in post-production, not just cutting back and forth between them). The audio engineer was extolled to me but then I found out that the feed he could offer was monophonic and sounds flat - and not in a good way. I do not feel qualified to meddle in his equipment and mic hookups, though...In past productions where we have had one camera only, the audio generally came off the mic on that camera; in the present setup I sit controlling that camera in the lighting booth, which is plagued by having a really loud air-handler register and the sound is useful for one purpose - to sync with the other two cameras. That's what gave me the idea of using the outer cameras for audio. You're right, it's not always ideal. There can be too much audience noise at times, similar to the problems with the video where suddenly someone close to the left or right camera positions gets up to leave the auditorium and inadvertently ruins what otherwise would have been a good camera shot. That being said, I'm encouraged to try the multi-pass approach recommended here. It's a bit ironic that the older way is in fact more appropriate than the new "adaptive" methodology, but I'll work with it. And thanks to all. I'm not sure putting PZMs on the stage lip would be a good idea. There's a lot of foot noise onstage and those mikes would be behind the orchestra, which is on a different level. I may mount better, more directional mikes on the outer cameras and see how that works. This go-around used the cameras' internal mikes since I had no notice I was using the signal from those cameras (assumed a better feed from the board; assumed that the higher-quality mic on the center camera would carry the day which it does not due to the booth air-handler register). And thanks to all. ... View more

No you're right. It's like going back to WordPerfect and DOS (thinking when I started in this business in 1988). No...wait! WordPerfect HAD a way to select text word, sentence or paragraph with the keyboard. Whoever released this without those most basic tools should have something to answer for. It CAN'T be so difficult to put those basic tools in that they needed to release and then build the toolkit. We're kind of a captive audience, and I'm more than a little disgusted. ... View more

Okay, text can be edited in the graphics panel...so how come I can't seem to use standard key combos that have been in use since Mac and Windows FIRST BEGAN? The ONLY one that works is Ctrl-A (Select All). Go back a word? Nope. Select word? Nope. Go to the keyboard shortcuts window and it's all gray for Essential Graphics. Only deselect is available to map. No other commands are available. These work in the old Titler, in Photoshop, in Illustrator etc. but why not for — sake here? Can anyone say "NOT READY FOR PRIME TIME", boys and girls? Or would Adobe like a few nice lawsuits for causing carpal tunnel because the only way to edit these items is with the MOUSE which is very wrist intensive, a reason professional editors tend to use as many keyboard shortcuts as possible. HELP! ... View more

Azzie, I think the problem is that the older titles system was a licensed - and never updated - program that's seen better days. It's still available but I for one am trying to get used to the new one. The export method is very odd. I'm also a bit nonplussed that the new Motion Graphics don't show up in the project panel. They are in Essential Graphics, but I'm not sure how not to ultimately have that quite cluttered with detritus from older projects...having a complete published guide to this new facility would be nice. As of now it appears we are without documentation. The article on Titles was last updated in June 2016. Help! ... View more

Jim & Chris: I think Jim has the better part in the workflow question - there doesn't seem to be a way to animate or keyframe curves! Easiest is to do a razor cut and put a simple cross-dissolve across the cut so it's not jarring. I have to say (Jim) the way a show is perceived in the theater with color changes is quite different to how it comes across in the living room on a TV. I agree it's part of the show but it's jarring to see everything in green or blue all of a sudden. If not too extreme (and FLEDERMAUS doesn't have any weird or extreme lighting) getting all three cameras back to white being white can be accomplished with first the Lumetri eyedropper, then curves against the RGB Parade scope, then my eyes. So far it's looking pretty decent that way. I did a simple performance of ARIADNE AUF NAXOS in a church a few years ago where I pulled a white balance and when the characters went into different light everything was so green I almost couldn't fix it. That was several HD cameras ago (Canon with tape, back in 2008), but it still leaves a bad taste. The AX100 does a great job of setting auto white, and the three cameras, even seeing a different view of the stage and thus the lighting, aren't that far off each other. So for anyone else reading this, my final choice of Premiere workflow is as follows: Ingest files, load up as multi-camera, sync to audio. Set basic Lumetri color on each master clip (can be adjusted, it's not like it is permanent or destructive). Load multi-camera source sequence into the timeline and carefully making sure nothing's selected put sequence (not clip) markers at each perceived lighting change, then razor cut each marker. I tried using an adjustment layer here, it's a problem only because the camera that is controlled ends up with slightly different white balance and either doesn't need adjustment at all or, more often, needs less and different than the other two. Make judicious use of Copy/Paste Attributes to copy Lumetri effect down the stack (making sure to delete extra Lumetri sections in Effect Controls! Not good or controllable if they add in on each other). It's usually spot on or really close. Once all color corrections seem to be made, make "new sequence from clip" which will be the switchable multi-cam target. Since the colors are not always correct, keep the Source clip and Target clip for the act you're working on available in the Timeline window for closer adjustment. MAKE ALL COLOR CHANGES ON THE SOURCE CLIPS! Dissolves and cuts etc. are for the Target clip. I think I'll end up with an amazing result, even for the evenings where there were no operators on my outside cameras. A lot can be credited to both you guys so many thanks. I'll keep monitoring this and might pop in again if something doesn't work the way I expect - it feels very right at the moment. Thanks! Jay ... View more

Hi, Richard! That's great if you have two operators you know and trust...AND the company can afford to hire them. Even for New Year's Eve, I needed to get volunteers (I arranged for us all to be well fed, however!) One of the great things about using the AX100 is that one can zoom in to the image, to a substantial extent, without deterioration noticeable to the eye. The camera is not only operating in 4K but has a 1" sensor and great optics (most consumer camcorders have a gate that closes forming a lens cap around the tiny lens, this one has a full-size lens and actual lens cap). Being able to manipulate the side images the way I described, I got what I believe to be a very good shooting result. I may experiment in a dress rehearsal with a fixed white balance. I find using the auto one and correcting in post an acceptable solution, even if not optimal. "Optimal" I think would be doing a white-card balance set between each lighting cue, impossible during a stage show. I'm curious what's on the adjustment layer you describe. I'm now experimenting with an initial Lumetri effect on the master clips; we'll see how that goes. It looks promising at the outset. It sounds like you're manually syncing your multiple cameras. I use the automated process (select the clips in Project panel in camera order, choose  Create Multi-Camera Source Sequence, Choose Sync to Audio Track 1). Once PPro has released the process for use, I load the sequence into the timeline and trim it (-3 seconds from first orchestra sound; +3 past curtain close or a bit more if there's a lot of applause). Right-click in Project panel, choose New sequence from clip and I have an edit-ready multi-camera sequence. New process with this shoot will require color correction of the Source sequence in the timeline using scopes and eye. I may consider purchasing Neat Video noise reduction, it looks very effective although my settings don't seem to result in a lot of visible noise. Again, thanks for taking the time to read and understand my initial lengthy post and for making some really good suggestions. ... View more

First...Jim and Chris, thanks for responding. I know it was a lot to wade through! I'll try to respond to what I can. Jim, thanks for "Yes"; it's the obvious way to go and I'm headed there. "Depends on how different the shots are". Three identical cameras, all appearing to work correctly (one my own since 2014, the others rented from Lensrentals.com which was a lovely experience; great people and very reasonable price on very short notice). Same settings on all cameras with the exception of f-stop which was variable on all three cameras depending on which night. ISO/gain identical, shutter speed identical, white balance auto on all three (to do otherwise in this kind of shoot is suicidal; I've tried it). Focus is set to a midpoint (15 meters for center camera, 18 for the outside ones which have a longer throw to center stage; with maximum f4.0 at appropriate zoom levels, and a norm of about f8.0 there isn't much of a depth-of-field issue). Chris... I am familiar, have used, but am not an expert with scopes. I certainly think they can be used to advantage, and would be curious which scope or array you would consult first? My greatest familiarity is with the RGB parade and, in a few experiments just now, I was able to help equalize a scene between the three cameras just now using that. If you think I should get familiar with others, let me know but I see that setting based on the RGB Parade and only THEN adjusting by eye will be faster and much more accurate. Let me know if there's a different scope or set of them that would stand me in better stead. I had had an Adele (we had three, in different performances!) ask for her "My dear Marquis" scene so I excised it to do as a sort of trial balloon. This is when I realized that reacting to color issues on each cut between cameras was going to be excruciating! If you want to see it message me privately and I'll send you a Dropbox link; it's a little under 6 minutes long. I'll work on the Master Clips idea. Because of the constant lighting variation it may be a difficult fit but since it's all non-destructive it is no bother to try it. I'm concerned about using keyframes; there are so many parts of Lumetri. It isn't just one keyframe! This being said, I'll review Colin's video first thing in the AM (It's 2AM - going to bed now!) I think doing a razor cut between scenes with significant changes and adding a cross-dissolve so it isn't so sudden might still be an option, and doing it on the Source version (after making an initial overall setting on the master clip; still working on that concept) might solve some things. I then have three levels where I can work: Master clip level, Source clip level (I guess using the Toggle Track Output eye is a fast way to compare both with scopes and my eye), and Target clip level (which should be avoided in most if not all cases but which I used exclusively on the one clip I processed, to my detriment - it would take forever that way!) Again thanks, and if any other ideas occur don't be shy. Jay Update - I think I have the hang of Master Clips at least as a basic thing. My idea: scrub through the entire act (thank God and Adobe for proxies - doing that with 4K is like taking an elephant for a walk in the garden) and watch the RGB Parade react. Find a midpoint and apply the basic eyedropper Lumetri white-balance correction, then check at several points, removing, adjusting curves if necessary, turning Lumetri on and off for the best overall correction. This will correct the most glaring and obvious color issues. Be ready to do more at the Source Clip level. By George, (I think) I've got it (apologies to Lerner & Loewe, My Fair Lady). And thanks again to all. If anything sounds wrong in here please feel free to chime in. ... View more