Hi Chris: I've found the free version of Telestream Switch very helpful.  It's main upside is that it can play most of the CODECs that were supported at the OS level via the now deprecated/discontinued QuickTime drivers at the application level (as far as I'm aware, VLC Player still depends on QuickTime running under the hood for MOV files). http://www.telestream.net/switch/overview.htm -Warren ... View more

How is the drive formatted? Fat32? ExFAT? NTFS HFS+? When outside of Premiere are yiu able to read and write to the drive as expected? ... View more

You'll want to replace the clips in your PR Timeline with an AE Comp and then apply the AE Adjustment Layer. ... View more

You should be good to go with MXF, but I'd consider transcoding the MP4 files to MXF or Apple ProRes. Chapter 22 Preparing to Move Your Project to Resolve of the DaVinci Resolve Reference Manual should cover everything you need to know: http://documents.blackmagicdesign.com/DaVinciResolve/20161108-fd9962/DaVinci_Resolve_12_Reference_Manual.pdf ... View more

You'll also have the flexibility of reframing your 2.7K shots inside of your 1080p Sequence. ... View more

Hi 1995CLJS: Two issues are at play here: Are your Sequence settings a good match for your source footage settings?  If not, you're likely going to have to render more frequently than if so. Is your workstation capable of doing what you're doing in the Timeline without rendering?  If not, you're likely gong to have to render more frequently this if so. Of course, even with a good match for settings and a powerful workstation, it's possible to edit in a way that still requires rendering. Here's a way to speed up rendering if your computer isn't up to rendering in real time: Create and change sequences in Premiere Pro Here's a blog post that explains what the render status colors mean: Red, yellow, and green render bars and what they mean | Creative Cloud blog by Adobe -Warren ... View more

This can be marked as "answered", correct? ... View more

Unfortunately, PR doesn't have "Time Reverse Keyframes" like AE does. You may have already discovered this: you can re-order the keyframes by clicking and dragging each one from right to left; however, it must be done one keyframe at a time (it's pretty tedious).  Also, if the parameter that you're animating uses Spatial Interpolation, changing the time position of the keyframe to an earlier frame is likely to result in a different spatial result.  For example, if you're animating Position along a curved path, reversing the keyframes in this manner will result in a different curve between keyframes. This would make a great feature request for PR. For what it's worth, you can find this feature in AE under Animation > Keyframe Assistant > Time Reverse Keyframes (use it after selecting the keyframes to be reversed). -Warren ... View more

That looks like Trapcode 3D Stroke animated along a Mask path with the leading edge rounded and the trailing edge tapered off. You can download a free trial here: Red Giant | Trapcode 3D Stroke You could try to use AE's Stroke effect, but it involves animating both the Start and End parameters to create the animation and lacks the control over the appearance of the edges that Trapcode 3D Stroke provides. -Warren ... View more

You can also edit video in the PS timeline as well.  It's extremely limited, but works. ... View more

Was CS3 when it wasn't on the Mac platform for a brief period?  I can't remember.  I was deep in Final Cut Pro and Media Composer at the time (but still using AE, PS, AI, ID). ... View more

Submit this as a feature request! Feature Request/Bug Report Form ... View more

Have you tried resetting the preferences ? That might get you past the error. ... View more

Over the years it's too easy to lose track of how far back each version of PR can go. I'm pretty sure that I have PR CS4, CS5 and CS5.5 still installed on my old 17-inch Macbook Pro. If you want to provide a download link for the PR CS3 project file (copy it into a folder and them create a Zip archive of the folder), I can try bring the file forward to CC2017 for you. -Warren ... View more

What is your OS version? If you are running Mac OS X 10.9.5, for example, 2015 would be the newest version that you can install. ... View more

Hi 3Strykes: If there was an award for most non-standard frame rates in a PR project, you'd be in the running to win it. Quick question: does the picture form each camera not match to due the temporal quality or due to the visual quality? I'm trying to remember when After Effects gained the "Timewarp" effect (it might be in CS5.5, but it might not).  With where you're at, I'd send everything to After Effects and apply Timewarp at 100% speed (assuming you have access to Timewarp).  That should give you the cleanest frame rate remastering.  Of course, you'll have to pick one frame rate to conform to in the first place.  I'd opt for 23.976. If you were to upgrade to CC 2015 or newer, you could use PR's new Optical Flow instead. -Warren ... View more

Actually, it depends on the font you're using. The challenge with doing a type-on effect in PR is that your font must allow for a vertical line to separate the characters.  With the Typewriter Animation Preset in AE, that's not an issue. ... View more

Audio drop outs during playback are often a result of the sustained data transfer rate of the source footage being about the same as the maximum sustained data transfer rate of the storage media. I'd take a look at what the MB/second required to play your source footage and compare that to what your storage media can sustain as a troubleshooting step. -Warren ... View more

Food for thought: If your system isn't responding, then that's a firm sign that it can't handle the workflow of a AI with 1,500 layers. Does each layer need to animate separate from the other? -Warren ... View more

It's unclear where you're having a problem.  Each proxy should be created at the original's fps.  If they did not match, adjustments made to the proxy could not apply to the high resolution file as well. And, no, you are never supposed to create proxies at a frame rate other than that of the original media: "The supported workflow allows attachment of Proxies with other frame sizes & PAR (pixel aspect ratio) combinations that are divisible by the Full Res clip (for example, 1920x1080 1.0 PAR Full Res and 960x540 1.0 PAR Proxy or 1440x1080 1.33 PAR Proxy), but other parameters such as fielding, frame rate, duration, and audio channels must match." (Adobe Premiere Pro Help | Ingest and Proxy Workflow in Premiere Pro CC 2015.3 ) ... View more

Sorry to hear that your edit isn't going smoothly, sonofasmallface. What I hear you asking is this: If I'm unable to get the version of Premiere Pro that I have at work to match the version of Premiere Pro at home, what are my options?  Please note: the version at work is older than the version at home. Option A: Run the previous version at home by downloading the previous version of PR that matches the older version at work.  Here are instructions: Download and install Creative Cloud apps (scroll down to "Install previous versions of apps"). Option B: Run the current version at work by download the current stand alone installers (.zip for Windows and .dmp for Mac) at home.  Copy the installers to a USB Flash drive and then install the current version at work. Here's the link: Download Creative Cloud apps Of course, both options require that you're running appropriate version of the OS. -Warren ... View more

Perhaps a workaround is to render low resolution sample movies (320x180 or smaller) that show what each of your custom presets does.  Then store them in an easy to access location on your drive for quick review. ... View more

A handy phrase to remember when planning a "green screen" shoot: Blue is for blonds.  Of course, if your actors need to wear blue (which your subjects are) you add another level of complexity to pulling your key. Like shooternz mentioned, ideally your actors would be further away from the green screen, far enough away that you are able to light the green screen separately from them. Shadows on a green screen/blue screen can also be problematic if not well planned for.  Based on the city image being used for the background in your screenshot, you would want no shadows on the green screen. As shot, you're probably going to have to keep some of the shadow when pulling the key.  If your background was a brick wall directly behind your subjects, this would work. ... View more

Sounds like something was happening with virtual memory.  Try to keep at least 10% of the Macintosh HD available at all times if not more.  (For those of use that have 128GB or 256GB HDs, this is often easier said than done.) Each click in your sample video matches what happens with a click and drag when drawing a Bezier path.  So, there was some sort of lag with the mouse click. ... View more

Hi Saphia: Can you post a video?  I've always had the shift plus number keyboard shortcuts select the corresponding panel or open the corresponding panel (if not already open).  I've always had to use command w to close a panel. After Effects behaves more like what you're describing with command plus number keyboard shortcuts.  So, if the Composition panel is active, you press command 0 for the project (which closes it if it's open) and the command 0 again (which opens it and makes it active). -Warren ... View more