Dacia Seanez, Sr. Quality Engineer at Adobe, previewed this in a beta version of Premiere Pro at last October's Adobe MAX.   https://www.adobe.com/max/2024/sessions/opening-keynote-gs1.html   Her presentation starts at 1 hour 8 minutes.     There is no release date set yet.   In the meantime, we can right-click, choose Replace with After Effects Composition, and then use Roto Brush.     ... View more

@Peter25587330m3rd  Regarding frame rate, you want to transcode to what the application MediaInfo (shown in a different reply) shows as the "Real Frame Rate".  You don't need MediaInfo to find this as it's what ShutterEncoder will use automatically, but it can help to know what it is.   You can also find this in Premeire Pro by right-clicking the Clip in the Project tab or Bin tab and choosing Media File Properties.   If after transcoding at the "real frame rate" frame rate you are still having a sync issue, something else may be going on.   Have you had time to try other clips recorded with the same device?  Hopefully, it's just this one and you can split the audio track and nudge the resulting audio segments every so often to maintain lip sync as needed.    Something else to check is the sustained data transfer rate that you are getting from your storage media.  I like to use Blackmagic Design Speed Test for this. ... View more

@Richard M Knight    Shooting 50p is a good approach.  It converts well to 25p where every other progressive frame is used or 25i where the 50 progressive frames are used as 50 interlaced fields (or “frames for fields”).   @R Neil Haugen    Yes, “25i” and “50i” are two ways of referring to the same thing, the former favoring frames and the latter favoring fields.                Yes, 50i and 25i ... View more

@Christhian_Diaz9872  Hi, Christhian. Did you see this forum post?  It may be the same issue that you are having. https://community.adobe.com/t5/premiere-pro-bugs/p-unable-to-freely-move-clips-and-audio-around-on-my-timeline-glitch-bug-or-setting/idi-p/15130146       ... View more

Some things to double-check:   Did you accidentally set the project to read only? Does Premiere Pro have full disk access?   ... View more

@Olavo Ramos  Open the Adobe Illustrator file in Adobe XD, select all, then use File > Export > After Effects. ... View more

Hello @Olavo Ramos  If using File > Import as Footage or Composition, you should notice that the Transparency value set for an object in an Illustrator file is maintained, but shows as 100% for the corresponding After Effects Opacity Layer Property.  As such, the Ai transparency value is what we might call "baked in".  And yes, ideally the Opacity value on the After Effects side would match the Transparency value on the Illustrator side so that we could easily increase or decrease it as needed while animating without being limited by the locked in transparency. You can switch to two other approaches to working with Illustrator and After Effects to get the Opacity setting on the Ae side to match the Transparency setting on the Ai side: In Illustrator, use File > Export... and export the Artboard as a Layered Photoshop document.  Be sure to release any Illustrator objects to their own layer at the root level of the document prior to doing this.  While this will match the Opacity value to Transparency value, it rasterizes the artwork. Open the Illustrator file in Adobe XD, select the Objects to be send to After Effects, and then use File > Export > After Effects.  The Opacity property of the resulting Shape Layers in the After Effects Composition will match the Transparency of the corresponding Illustrator Objects. Another approach is to import the Illustrator file as Footage and then use Layer > Create > Create Shapes from Vector Layer, but the Opacity will be 100% and need to be manually set to match Illustrator.  Even though this is some futz work, it opens it up to using the Shape Transform Opacity rather than the Layer Opacity.  Of course, you could always bring each Object up to 100% in Illustrator and do something like including the intended Opacity in the Ai document Layer name, import the Ai file as a Composition, and then manually adjust the Opacity property for each Layer as needed. If frequently working between Illustrator and After Effects, be sure to check out Overloard 2 ($75) by Battle Axe.     - Warren ... View more

@BETHOTHEBOSS  Are the Fill Layers in the nested 120 fps Comp accidentally set to be Guide Layers (Layer > Guide Layer)? Is the original Clip accdentally layered above the nested Comp in the containing Comp? ... View more

@MJ.WORK  Regarding editing music, you'd want to be doing that in Adobe Audition or Adobe Premiere Pro and then import a stereo mixdown from either of those applications into an After Effects project for animating to the music edit. Without any hardware, software, or workflow details, it's hard to know where to start with troubleshooting why the CTI is not working as expected. Some general considerations (in case you're not already doing these): Try doing an Audio Only Preview and place Layer Markers at important frames on the Time Span for the source audio.  Then use those as a guide for keyframes as you animate. Use an audio file format that's not compressed.  For example, a linear PCM AIF file or WAV file. Try a lower Composition Resolution.  If working at Full Resolution, try Half.  If working at Half Resolution, try Quarter Resolution.  If owrking at Quarter Resolution, try a Custom Resolution. Try skipping frames.  While it's ideal to not skip frames, try the default Preview option to Skip Frames or set a custom one in the Preview panel. ... View more

@ninarrr  That sounds very frustarting. Which version of Premiere Pro are you running?  Which operaring system are you running?  What are your system specifications?  What type of source footage are you using?  What Sequence settings are you using?  What type of storage media are you using?  Are you running any third-plugins, add-ons, or extensions for Premeire Pro?  Are you activating any fonts? Have you been able to make the time to go thorugh the following? How to fix Premiere Pro crash issues ... View more

This is likely due to a corrupt font.   Try deactivating all but the system fonts.  If that allows you to use the font menu as expected, activate them back in small groups until the crash presents itself.     ... View more

Hi @ian_0109  It means that it is planned, but there is no release date set yet.   If you need to run After Effects, Illustrator, or InDesign, you'll want to stay with a supported processor for the time being.     ... View more

Hi @RaviKumarm04  The only way that I am aware of is to set your local Google Drive folder as the Output File location for the item's output in the Queue tab. I've done this for Microsoft OneDrive for low resolution preview movie files that I can then check later from my iPhone or iPad before returing to the office and it works pretty well. I encourage you to write up how you see it working as clearly as possilbe and post it as an "Idea" to this forum.  Link back to it hear and I'll vote for it. ... View more

Hi @Nicollas: If making no changes to your workflow, you should see faster render times using a M3 Max, M4 Pro, M4 Max, or M2 Ultra. I recommend enabling the Transcode option in the Project Ingest Settings and set it to ProRes 422 LT.  You can edit while the various formats that you receive are transcoding in the background, ProRes 422 LT source can be its own Preview File in the Timeline (double-check that your Sequence Video Previews are set to the default ProRes 422 LT).   For exporting, select QuickTime as the format and enable "Match sequence preview settings" as the preset. Then, export to a Media Encoder Watch Folder that applies your delivery setting preset(s).                             ... View more

Hi @Nicollas    Having sufficient RAM—or in this case, more RAM than needed—doesn’t speed up render times; it simply enables the process to happen. Render time is primarily determined by the computer’s central processing unit (CPU) and graphics processing unit (GPU). All else being equal, an M3 Max will render faster than an M3 Pro, which in turn will be faster than a base M3.   From your screenshots, it looks like you're using an older version of Premiere Pro running under Rosetta on macOS.   While Premiere Pro performs well under Rosetta, you should see better performance running it natively on your M3 Pro. Try the latest version, Premiere Pro 25.1.  In addition to being Apple Silicon native, this release features enhanced H.264 performance on Apple Silicon, and version 24.5 (also Apple Silicon native) introduced up to 3x faster ProRes exports.   You didn’t provide details about your workflow, but I recommend looking into Smart Rendering. Since you're on a Mac, consider using ProRes from source footage through editing to the final master—if you’re not already doing so. Ideally, use the same ProRes version throughout the process. For example, ProRes 422 LT for source footage, sequence video previews, and final export. You can then encode the export into any necessary delivery format using a Watch Folder. Depending on your delivery requirements, ProRes 422 HQ may be a better choice.   - Warren     ... View more

It can seem like magic, sure. Hardware encoding at a low bit rate is what's going to keep the file size small - just be sure to balance that with picture quality and the intended use of the resulting file.   For a 1 hour 8 minute video to come in at 150 MB, the bit rate for picture and sound would need to be around 0.33 Mbps (or 330 Kbps). I see 330 Kbps working for 240p25 or 320p25 (settings common for web video and CD-ROM video about 25 years ago), but not 1080p25. To take a close look at a 150 MB video file, open it in MediaInfo and review the file's details.  You could then try to match those settings in Media Encoder, Compressor, HandBrake, or Shutter Encoder.  It may be worth trying a high-end solution like Telestream Vantage Transcode. Getting back to intended use, for YouTube, I would aim to upload the highest quality video supported by the platform for the best possible results with the encoding that's going to happen on the YouTube side.  Currently, that is ProRes 422 HQ that for 1080p25 ProRes will be about 1.3 GB per minute.  If balancing high picture quality with more manageable file sizes, I'd opt for ProRes 422 LT which at 1080p25 is about 0.7 GB per minute.  If those files sizes are still too large for local storage or internet bandwidth for uploading to YouTube, I'd stick with 1080p25 H264 at around 10 Mbps.  Even if I could get an hour of video down to 150 Mb, if the intended use it uploading it to YouTube where it's going to go through another compression pass then I would not do it. ... View more

Hi @Billy Ramone  As you've noticed, video files can be very large. The file size is a direct result of the settings used for video and audio. Here's a storage calculator that you can plug your settings into to get an idea of the file size you can expect from Premiere Pro or any applicatoin that encodes video. https://www.digitalrebellion.com/webapps/videocalc To get a sense of files sizes to expect based on common video file formats, I like to use Digital Rebellion's storage calculator. https://www.digitalrebellion.com/webapps/videocalc   Have you tried H265 instead of H264?  At the same settings, it should be about 60% the file size that H264 would have been. You could also try switching to Hardware H264 encoding if that is available on you workstation.  You may have to switch to 1-Pass ecoding for it.   For 1080p25, a target of 4 Mbps with a maximum of 6 Mbps is low and may result in picture quality loss.  While it means a larger file, I'd bring that up to at least 10 as the target and 12 as the maximum. - Warren ... View more

I'm glad to hear that you were able to restore the file. To delete a video file from a project, select it in the Project tab or Bin tab and press Delete.  This removes it from the Project while leaving it in place on your storage media. The two options in the Make Offline dialog box are what's commonly used in video post production.  ... View more

VOB is part of the DVD-Video data structure and be a tricky to work without outside of what the DVD-Video specification allows for.   Try something else to see if you get the expected results with the audio. Are the VOB files still inside of a VIDEO_TS folder?  You could try using an application meant specifically for ripping, or backing up, your DVDs so the movies can be watched on your computer or mobile device that does not have a DVD drive.  If you're running macOS, I like Mac DVD Ripper Pro ($39.95).  There's a trial version that you can use to make sure it will do what you're expecting before purchasing it.     A cross platform option to convert VOB is Shutter Encoder (donationware).  Choose the VOB files and set H264 or H265 in the "Choose function" pop-up menu under "Outout codecs".  This should work even if the VOB files are not in a VIDEO_TS folder. NTSC DVD-Video is 480i60.  For upconversion to HD, I would consider using Topaz Video AI ($299).  It supports VOB, so you could convert to H264 and upconvert in one pass.  I think Topaz offers a trial version as well. ... View more

If you're just learning the applications, I'd say that's okay. If you're using the MacBook Pro for work, I'd go with 48GB or 64GB of RAM and either 1TB or 2TB Flash stroage. ... View more

@Hetland  Hello.  Ingest Presets are intended for use with Premiere Pro's Ingest Settings found under File > Project Settings > Ingest Settings > Preset in Premiere Pro, not with Watch Folders. If there's a way to force Ingest Presets to function as Encoding Presets in Media Encoder, I haven't heard of it.   If the file name is not set at the time the Queue is started, batch renaming would happen after encoding with Adobe Bridge, macOS Finder Rename, or other renaming utility. If creating H264 MP4s, you could use the After Effects Render Queue instead.  In After Effects, customize one the existing H264 Output Module templates for each variation needed and name each custom Output Module to match what needs to be included in the filename.  For example, customize "H264 - Match Render Settings - 5 Mbps" to be a custom Output Module named "_LRES" and "H264 - Match Render Settings - 40 Mbps" to be a custom Output Module named "_HRES".  Create a Comp from the Source Footage and add it to the Render Queue.  Use Composition > Add Output Module to add as many Output Modules as needed.  Set the custom Output Module Template for each, and then set the Output To to the "Comp and Output Module Name" file name preset.  If the Comp is named "demo", then the resulting MP4 files will be named "demo_LRES.mp4" and "demo_HRES.mp4".  A possible down side of this approach is that you're limited to the H264 format options provided in After Effects for video, audio, and multiplexing.  ... View more

"Linked" would be a good name for this.  Embedding is what effectively happens now where the imported project becomes a folder in the current project.     ... View more

@Suraiya A    Uncheck "Generate report only".  If that's enabled, there is nothing to reduce.   ... View more

@Aykhan33031895pjc8    When you start a post in the forum, select "Idea" as the category.     ... View more

@jackthegiantslayer    While I'd love to see everything I have requested make the "released" category, plenty feature requests do.   https://community.adobe.com/t5/after-effects/ct-p/ct-after-effects?page=1&sort=latest_replies&filter=released&lang=all&tabid=ideas ... View more

I'd take advantage of the free trial to see how it works your footage.   If you want the same amount of sharpening across the entire frame, you may be fine with Unsharp Mask.  If you'd like to keep some areas soft, like skin, then you'll likely appreciate BCC+ MagicSharp.  Also, the Detail Tuning is likely to be helfpul to keep the sharpening from being too much. ... View more

@Peru Bob    I could ao go for some pie right now!  ... View more