If you find you need to do this often, check out GifGun (GifGun - aescripts + aeplugins - aescripts.com).  This script lets you do everything from within AE. Of course, you'll save $30 by doing it though PS.  Although, you might be able to get by with the demo version. (It's fully functional, but limits some options.) ... View more

It's seems to be another step toward making Premiere Pro what Final Cut Pro 8 would have been. I haven't had a chance to install the latest version of PR (in the middle of a project).  Did any tools get added? ... View more

Are you currently sign into you Creative Cloud account?  If logged out, I'm pretty sure the software switched to trail mode until you log in. ... View more

Yeah, something unexpected is happening. If you're under a tight deadline, render your AE Comp or Comps at settings that are appropriate for your PR Sequence settings and import them into your edit as you would any other source video. If you have some time, it's worth opening a support ticket with Adobe Customer Care about this.  You'll probably go through an uninstall and reinstall for starters (so you could try that on your own) and a support agent can verity that the software is installed properly. This link should get you started: support -Warren ... View more

It might help to place the movie that you exported in the top most track of your Sequence, superimposed at 15% Scale (give or take) and positioned to a corner of the frame.  You could also disable it, but it would probably be helpful to have it there as a visual reference while  you're working. -Warren ... View more

Bandwidth issues aside, you are not using the right type of network for video editing. If you want to maintain the integrity of your data, stop immediately and either install a SAN or reboot the computer with the source footage in Target Disk Mode (running a Thunderbolt cable from the TDM Mac to your video editing workstation). -Warren ... View more

How might what you're looking to do differ from Gang Sync or Reverse Match Frame? -Warren ... View more

Heya, Blake: I know that this isn't what you want to hear, but that doesn't sound all that long. -Warren ... View more

Dave, you got me a little excited about using Media Composer again, but it's a scaled down version that's free, called Media Composer First (Media Composer | First - Get Notified ). Although, Media Composer at $49/month is still great compared to the $120,000 price tag of the 1990s, $60,000 price tag of the 2000s and software only version at $3,000 just five years ago or so. -Warren ... View more

Are you viewing the 29.97 3:2 pulldown file in an application that displays fields? If so, you should see the interlaced scan lines in areas of motion.  If the application playing the file is displaying "Single Field" (Premiere's default) or removing the pulldown (After Effects' default), it will either look really close to the p24 original or exactly the same. 1. Yes, After Effects is introducing cadence (the progressive p24 frame being pulled across interlaced i60 fields) as specified. 2. Yes, H264 could be screwing everything up.  For broadcast, you're ready-to-broadcast delivery would likely be a MPEG2 Transport Stream inside of an MXF wrapper. 3. i59.94 and i29.97 are two ways of referring to the same thing.  59.94 is fields per second while 29.97 is frames per second.  In this context, i60 and i30 are two more ways to refer it as well. ... View more

If you opt to convert your iPhone footage, use Adobe Media Encoder and not Handbrake.  Handbrake is specifically designed to convert video to formats for playback (not for editing).  I know, you might ask "what's the difference?"  The difference can be huge. My screenshot show iPhone 6S footage shot with the Apple Camera app at both 30fps and 240fps inside or Premiere Pro CS6.  Frame rate is constant and picture quality is as expected (home video of the dogs and a nature hike). The Sequence was created by dragging and dropping a 30fps clip to the New Item icon at the bottom left of the Project tab. The Clip Speed of the 240fps footage was set to 12.5% to best match the 30fps Sequence and to allow the clip to play its intended (in slow motion) rather than real time. This leads me to a question about the original post and quality of the footage: How are the mobile phone video clips being transferred to the computer for editing?  Are they being copied directly from the phone (via Apple Image Capture)?  Backup via a camera backup app like Dropbox?  It's possible that whatever is handling the file transfer is introducing a recompressed file.  Direct copy and Dropbox should preserve the original. ... View more

Is the Pixel Aspect Ratio of your Source Sequence D1/DV Pal (1.0940)?  Or maybe D1/DV NTSC (0.9001)? This commonly comes up when editing non-square pixel formats and exporting to presets with square pixel proportions. Changing "Scale to Fit" to "Stretch to Fit" should resolve the pillar boxing as well as correct for pixel aspect ratio. -Warren ... View more

Just to be clear, it's multi-clip selection and the multi-clip adjustments that you're looking for, right? It would be great to be a able to select (and reselect) clips in groups, make an adjustment to one that then applies to all of the clips within that selection.  Adjustment Layers and Copy and Paste Attributes work for this, but it certainly could improved. Of course, this isn't CinemaDNG specific. ... View more

For a sample of a real world workflow that starts with AVCHD (.mts) camera originals that are trancoded to ProRes 422 LT, edited at LT and exported to LT for an edited master as well as H264 for YouTube, watch anything by The California Endowment. -Warren ... View more

Since you're on a Mac, LT is an excellent choice (contrary to what was stated in a prior post)  You're at about 700mb per minute at 1080p. It's great that you are concerned about picture quality across your workflow. You'll have to get used to large file sizes (even HQ at 1.3GB per minute is modest). So that you're making an informed decision, read the Apple White Paper on ProRes: https://www.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf -Warren ... View more

For what it's worth, everything that I've ever shot with iOS has always played fine in Premiere Pro from the iPad2, iPhone4, 5S and 6S and from Premiere Pro CS5.5, CS6, CC, CC2014, CC2015 and CC2017. Premiere Clip (a more recent editio) handles the footage just fine as well. Of course, I only shoot with the native Camera app. ... View more

Since you memtion future use, consider using the Project Manager to archive your most recent Sequence rather than/in addition to archiving an edited master. -Warren ... View more

This blog offers some good "how to" once you have your .srt file exported from Premiere Pro: http://tubularinsights.com/how-to-add-closed-captions-facebook-videos/ ... View more

Hi Bill: I'm taking a guess here, but you're probably seeing a temporary video file and temporary audio file while Premiere Pro or Media Encoder is encoding your file.  If that's the case, this is a necessary part of the encoding process for H264.  When done, the two files should be multiplexed into on MP4 file that contains both picture and sound as expected. -Warren ... View more

For what it's worth, I've always felt that film as a medium for acquiring a moving image is what makes images shown in rapid sucession look like film, not frame rate.  Now that just about everything is video, it's gamma curves and grain filters that mimic film. Back in the early 1900s, film was recorded by a film camera that was hand cranked and viewed on a kinescope that was also hand cranked.  If the filming or playback sped up or sped down, it still looked like film because it was film. And film transferred to video will still look like film, regardless of frame rate. The video look that many dislike (but several have become accustomed to) is not a direct result of frame rate, but rather video being a different medium entirely (both in it's prior analog version and current digital version). Video has gotten significantly better at looking like film (being progressive instead of interlaced was a huge step as well), but frame rate isn't what makes that happen. ... View more

Hi Jerry: You want to introduce the 3:2 pulldown via the Render Settings in After Effects.  After adding your Comp to the Render Queue, go into the Render Settings, enable Field Rendering (if you're footage is 1920x1080, this is going to be Upper Field First).  Then, change 3:2 Pulldown from Off to WSSWW (technically, any of the cadence options are fine as you're not matching a file that was pulled up).  Set the Output Module as needed and render the i29.97 version of your video. Your file will pass QC and look great when broadcast. -Warren ... View more

Since you're on Windows, go with Cineform or DNxHD or XDCAM HD.  Transcoding camera originals to a "mezzanine" or "house" codec is fairly common.  Even if you'd shot with an ARRI Alexa there would be some sort of conversion during your workflow. I've only played with FilmicPro on a friend's iPhone.  Does that app allow you to set a constant frame rate?  If so, do a test shoot sometime and report back if that works better in Premiere (of course, it's not help to you now, but maybe something for your next project). -Warren ... View more

You might be able to use the footage as its own luma matte to isolate the foreground from the background. ... View more

How about a different workflow?  Edit, lock picture, then do your noise removal only on the footage that you actually have in your cut. Also, NeatVideo offers their plug-in at a reduced price for other applications if you already own it.  I forget how much I paid for the AE version after having the PR version first, but it wasn't too much. ... View more

Which version of Mac OS X are you running?  Your MacBook Pro probably came with 10.7.3 pre-installed. Let's say you were running Mac OS X 10.9.5, then the newest version of Premiere Pro that you would be able to install is CC 2015. If you update to macOS Sierra 10.12.4, you should be good to install Premiere Pro CC 2017; however, as MTD pointed out, I'd be very concerned about your available drive space.  You want at least 10% free at all time for good system performance.  So, if you have a 500GB Macintosh HD, you'll want to have 50GB or more free as often as possible. If you happen to have a model with only 128GB, it's going to be very challenging to have the OS, applications and any video files.   Even with 256GB or more, you probably want to edit from an external Thunderbolt or USB3 drive. -Warren ... View more

Hi Jay: If you want to stay in CS6, try using Adobe Media Encoder CS6 to convert all of your source footage to Apple ProRes 422 (LT). You'll have to download and install the ProRes presets manually from here: Adobe - Adobe Media Encoder : For Macintosh : AME CS6 Additional Presets for ProRes (MAC ONLY) You could try the HQ version of ProRes or the full version, but LT will give you a slightly lower bandwidth that should help to maintain smooth playback of your transcoded footage. -Warren ... View more

Is your network storage a NAS or via a file sharing protocols like AFP or SMB (huge mistakes)? Or is your network storage a SAN (everything should work fine be it Adobe Premiere Pro, Apple Final Cut Pro classic or Avid Media Composer)? -Warren ... View more

What type of storage is being used for the source footage? ... View more