Unfortunately, there is no automatic way to remove letterboxing (black bars top and bottom) or pillarboxing (black bars on the left and right). Here are some possible solutions to remove black bars or letterboxing: If you have already cut footage in your timeline... Change the vertical size of your sequence in SEQUENCE SETTINGS. This can be used to naturally crop videos in your timeline. If all your footage at the same pixel aspect ratio--this should be easier. If you have different footage clips at differenct aspect ratios, you may have to custom scale each clip to If you wish to just remove all letterboxing or pillarboxing from all our video clips "before" editing... Use Adobe Media Encoder to create a new PRESET to CROP all your footage and create new master video clips. To accomplish this, load a sample footage clip and create a new ENCODING PRESET or INGEST PRESET from scratch using the SOURCE panel to set a custom crop for images of a specific size and aspect ratio. Once have created this, you can either add your clips to Media Encoder and apply this preset to process a batch of clips or use the settings to INGEST your clips and automatically crop and create new footage directly into Premiere. Note: If you have clips at different sizes and aspect ratios, you will have to create a custom preset for each. If you give us more information about your media like specific sizes and aspect ratio--we can help you more specifically. ... View more

Wow! That is weird. Sorry you lost it! I know how frustrating that is after all your hard work. Were any other files affected on your computer? I'm also curious as to the frequency your Auto-Save is set to (not that this explains the disappearance since most are 20min or less intervals). I agree with Ann, a manual SAVE A COPY is excellent. I'm a nervous editor. I also will set my Auto-Saves location to Onedrive and/or Dropbox sync folder. This work great for me as my files sync very quickly--and if I lost my entire computer, I just restore my back media from my backup and grab my last auto-save from the cloud. I have actually found Onedrive to be super powerful and faster on my computer. I have 2 Tb of cloud space and use both After Effects and Premiere right out of the sync folder with massive success. Hope you recover something. ... View more

This has happened to me before, but it turns out my processor wasn't configured correctly in my Photoshop Preferences. One possible thing to try is to go to PREFERENCES > PERFORMANCE > ADVANCED SETTINGS under the GRAPHICS PROCESSOR SETTINGS and switch the DRAWING MODE. If it is not on BASIC, try another mode like NORMAL or ADVANCED. If it is on NORMAL or ADVANCED, switch it to BASIC. You can also disable the GPU acceleration outside of the ADVANCED section (but GPU Acceleration usually allows for the "smoothness" we love when navigating Photoshop). If any of this helps, there can be issues in the way Photoshop is working with your video card. This could mean that: Video Cards needs to updated A video card update is corrupt (need to reinstall updates) You may need to roll back your video card to an earlier version Reinstall Photoshop *You've tried this already (There could be some wrong in the way Photoshop is interfacing with your video card) Reinstall Photoshop Thoroughly Use the Creative Cloud Cleaner Tool to solve installation problems​ There can be other issues like the distribution of RAM between your OS and Photoshop (also maintained under PREFERENCES > PERFORMANCE). An underpowered computer can be the issue as well. What are the specs of your computer? Yet another thing that can cause this is "conflicting" software caused by codecs and installs from other devices like Pen and Tablets, etc. ... View more

I usually use the method you listed above. Another method would be to export your sequence as an AAF or FINAL CUT XML. These will output your sequence versus the entire project. You may have to re-link media or re-organize a bit--but this does work well if all else fails. ... View more

Wow! That is definitely a difference and unfortunately very common. While VOB files can play fine from a desktop level, it is better to decompress them into an intermediate codec for smoother decode in Premiere. Even converting VOB to H.264 can greatly improve the playback. I'm with Warren on the fact that Handbrake is a great choice if you continue to have issues with with the conversion. So as a summary: Review: VOB is not a great editing format and should function better in an intermediate codec. One Possible Solution: Use Media Encoder to encode to a Quicktime/Prores, Quicktime/Cineform or at least an H.264. Backup Possible Solution: Use Handbrake or 3rd Party to encode to another, more stable codec for editing. The reason I would probably use Prores or Cineform is that the audio can be decompressed to an uncompressed format like a WAV or AIF conversion--they can often fix tricky audio. There are other options for fixing but this is what I would try first. Good luck! ... View more

120fps is very heavy for any editing program to process. When you said that adding a second MP3 made everything laggy, this is most likely because MP3 take a lot of processing in the timeline. If I were cutting 120fps footage and had any additional sound media in the timeline, I would try to eliminate the calculations that Premiere has to accomplish by: Re-encode your MP3 audio files to WAV or AIF (uncompressed) / I prefer WAV Re-encode your 120fps video clips to Quicktime (Prores 422)  or Quicktime (Cineform YUV 10-Bit) This will speed up working with the media in your timeline because it decompresses your media and gives Premiere less to calculate. Adobe Media / Premiere can easily accomplish this. Happy to help you out. FYI--The spec on your computer look pretty good though I'm curious if your 1TB Hard Drive is a standard HDD at 7200 or 5400rpm or are you using an SSD. If you are not using an SSD--this could be yet another problem as standard drives tend to bottleneck with this type of footage. Unless your system is optimized to edit 120fps or the footage if much lower quality--it's easy to run into massive issues with 120fps footage. ... View more

One video may be corrupted. Considering that one is playing fine and the other isn't, I would re-encode the one that doesn't play back well. This can help clean up corruptions depending on the corruptions. 120fps can be tricky and smaller corruptions or issues will be more noticeable than footage at 24fps or 30fps. I would first re-encode the file to another 120fps format out of Premiere or take it out to Media Encoder (same thing really). Unless your file is raw, I would re-encode to an intermediate format like Prores 422. ... View more

There is nothing close to that as Ann said. There are a number of ways to warp footage and images, but nothing like Warp in Photoshop. I would suggest, RIGHT-CLICKING on the footage in your timeline and use REPLACE WITH AFTER EFFECTS COMPOSITION. This will give you precisely what you want assuming you know a little about After Effects. This will "dynamically" throw your footage over to After Effects. Whatever effects and manipulation you do in After Effects will automatically be updated in Premiere. Once you are in After Effects and save your After Effects Project, select your footage in the timeline and go to: EFFECT > DISTORT > MESH WARP. This will give you something similar to what you want. You can set the grid to a 3x3 configuration in the Effects Control panel. You can also use another effect at EFFECT > DISTORT > BEZIER WARP. It's not exactly like Photoshop's Warp like the MESH WARP--but it could be extremely useful in achieving some of the same things. Hope this helps! ... View more

Ghosting and or field issues can be caused by problems with video drivers, improperly interpreted footage and many other issues across both hardware and software. A few questions for you: Is all your footage from one source (camera) or are you mixing footage? What is the original camera format(s)? Does your sequence look good before the export? Would it be possible to take a screenshot of the issue you are talking about? Also, would it be possible to take a snapshot of your export settings? Camera Footage Issue: Whether you are working in an SD project or an HD one, and are using footage from a ripped DVD, or footage from cameras like Sony/JVC HDV, P2, Varicam, HDV100, etc--you can be running into field issues. Field issues can happen while you are editing or just appear on export if the footage hasn't been processed correctly. Before editing, you can RIGHT-CLICK on your camera media in the PROJECT WINDOW and go to MODIFY > INTERPRET FOOTAGE. Click on CONFORM TO and then choose your FIELD ORDER. For typical SD (Standard Def) footage you would choose LOWER FIELD FIRST under FIELD ORDER. High Definition interlaced footage like 1080i generally uses UPPER FIELD FIRST. For everything else, like graphics and progressive HD, UHD and DCI footage--you would choose NO FIELDS or PROGRESSIVE. If you aren't using any type of interlaced footage, it's possible there are some weird settings or encoding issues causing this. Corrupted display or codec drivers, etc. ... View more

My bad. All before is true, however, you should edit your text in the EDIT bin BEFORE dragging the LOWER THIRD sequence into your EXISTING sequence. If you want to edit what you have already dragged into your timeline, you will need to continuously double-click into all your nested layers to change (Lower 3rd 03 Final > Nested Sequence 09 Copy 0 > Nested Sequence 11 Copy 02 > Text Nest > Text 01). I personally think it is easier just to edit your text in the EDIT bin and then DRAG into your TIMELINE. Hope this helps! ... View more

To fix, just DRAG the LOWER THIRD 03 FREE sequence into an EXISTING TIMELINE as shown in the image above. Note: If you just open the SEQUENCE and move or edit the original LOWER THIRD sequence--it messes up the effect. To Review: First, add your Lower Third by DRAGGING the LOWER THIRD sequence you want (shown in image) into your TIMELINE above your video layers. Second, if you need to edit the color or text, go into your EDIT bin folder in your PROJECT WINDOW or just DOUBLE-CLICK into your LOWER THIRD (green) clip in your timeline and change what needs to be changed. Hope this helps! ... View more

I have not encountered this error through my extensive use of Premiere and Media Encoder in 2019. Here are some thoughts. Metadata Writing errors can be common for a few reasons: The destination drive or location is not readable (or corrupt) The codec does not support the metadata you are embedding The codec does support the metadata but is corrupt Program/Application Corruption or Bugs Video Card Update(s) if it is being used to accelerate the encode One quick way of seeing if you are having problems with the codec is to simply re-encode your file as a higher end file with the metadata and then re-encode the output file to the final file format. While you can still have errors if the final codec is corrupt, this adds the step of eliminating some of the "stress" and math right out of Premiere into H.264. To review, do the following: Output your video with metadata as a PRORES 422 or 422 HQ (or use another high-end mezzanine codec file like DNxHD/HR or CINEFORM) Take the Prores output file and throw it back into MEDIA ENCODER and re-output to your final file (YOUTUBE 1080P H.264 output or whatever file you want). In general, this is a preferred workflow anyways as Premiere renders much cleaner and better if the file is less compressed (research Premiere Pro Smart Rendering For Faster Exports | Welcome to kevinmonahan.net ). Now if things go smoother with Prores but you still get errors with the H.264 file--my guess is that it is the H.264 codec. If Prores and H.264 are giving you issues, then the application might have had a bad install. Either way, uninstall Premiere using the CREATIVE CLOUD CLEANER TOOL Use the Creative Cloud Cleaner Tool to solve installation problems This tool solves quite a few issues with corruption within Premiere as well as the codecs and drivers it installs. In addition to this, there can always be some issues your video card if it is used to encode. Try disabling GPU acceleration under FILE > PROJECT SETTINGS. We had an issue a while back that caused some corruption in our metadata in 2017 and disabling the acceleration helped. Anyways, I hope some of this is of use. Good luck! ... View more

A number of things can cause this. Corruptions in the installed codec - ReinstallingPremiere or 3rd party codec could be the fix (see Bugs in Application below) Corruptions in the video itself (and just because it plays in one player does mean anything as some players are more sensitive to corruptions than others). Bugs in the application (in this case Premiere--reinstallation using the Creative Cloud Cleaner Tool may be necessary) HDD Corruptions - this would potentially corrupt the video and cause what you are seeing (one test could be to move your footage to a different HDD/SSD and relink in Premiere). Video Card issues - You may need to update your video card. If it recently updated, you may need to roll back to an earlier update if there are inconsistencies. One quick test you can perform is to re-encode just one clip or part of a clip as something simple like H.264 (Match Source - High Bitrate) in Media Encoder to see if the clip will play all the way through in Premiere. This will either confirm or eliminate the codec and/or file corruption. This could also reflect issues with processing based on your hardware. If the re-encoding test works, you may want to adopt a Proxy workflow as stated by Christian or simply re-encode your media as a different codec. Once again, we have had corrupted clips play perfectly in a simple player but fail in professional applications. ... View more

You should contact customer care directly at Contact Customer Care Go to ACCOUNT ISSUES which involves upgrades, cancellations, etc. Just FYI--I'm sure you already know this that a month-to-month plan is a lot more expensive than committing to a yearly plan and paying monthly--but I totally understand if you need the freedom to cancel any time. Good luck! ... View more

Just like Neil said, we need more information about your system, however, I would not ever recommend rendering without plugging your laptop in on an FX-heavy project. Rendering taxes your system resources heavily and battery life is almost always an issue unless you are rendering a very simple project. Extremely slow renders can be so many things as mentioned by Neil. More info is always better. ... View more

I had a similar problem when I updated to 2019 from 2018 and just reinstalled. If you have already done this or if you haven't done this, I highly recommend using the CREATIVE CLOUD CLEANER TOOL This is a special Adobe application that will help with clean installs. It can solve many types of problems like this one and this actually solved my issues Use the Creative Cloud Cleaner Tool to solve installation problems You can also RECREATE THE LIBRARIES CACHE: Solution to the issue: Adobe Creative Cloud Libraries panel doesn't load in desktop products There are some other things you can try but this is a good start! ... View more

Like has been previous stated, your RAM is way too low. I realize that some of the Adobe materials will state a minimum RAM to run the program, but if you are running any type of VIDEO or ANIMATION, I would say a minimum of 16gigs RAM. From Adobe Premiere Requirements page: 8 GB of RAM (16 GB or more recommended) You can run the program, but you are bound to run in issues sooner or later. Also, running out of hard drive space could definitely be an issue because the VIRTUAL MEMORY it wants to use when you run out of RAM could be compromised. And just as a side note, and updated video card can still cause crashing. Sometimes you need to rollback your driver if the current one is not stable. ... View more

Here are some answers to your questions! Also, I noticed there Is Time Interpolation: Frame Sampling. Should I change It to Optical Flow ? No. Optical Flow is a high powered feature for smoothing out footage that has speed changes applied while editing. Unless you are slowing down clips while editing and want an "in Camera" looking slow mo, don't touch this. If I Shoot 4K, which Is 8 Bit, Not 10 Bit, Is It better to use the 10 Bit Codec that, you have mentioned above, or since it was not shoot In 10 Bit It dose not make any different to use the 10 Bit or 8 Bit codec that you have choosed above ? If the original footage is 8-Bit, 10-bit conversion will maintain 8-bit but it will not improve your original footage. Sometime--people will archive their footage at a higher bitrate because they just want all their footage in one single format and bitrate. The only issue with this is that it can take up more space during archive. If you archived your 8-Bit footage as 8-Bit and your 10-Bit footage as 10-Bit you would be fine. What If I have footages from Canon C100, Or Canon 5D's, or Canon 80D, can I use above 1080 Settings which Is: DNxHR HQX 8 or 10-Bit or DNxHR RGB 444 10-Bit. If you footage is 1080P and you can save it at the higher DNxHR codec, but remember that you won't necessarily gain anything. DNxHD was made to be more efficient for 1080P and 720P and DNxHR for for everything that is bigger than that like 4K. It's about efficiency. You might be create too big of files. ------------------------------------------------ ADDITIONAL STORAGE NOTES: ARCHIVING YOUR FINISHED PROJECT & FOOTAGE ARCHIVE YOUR PROJECT & the FOOTAGE YOU USED AS IS (Conversion would mostly be unnecessary if you use the ORIGINAL FOOTAGE or created HIGH QUALITY MASTER CLIPS to edit with). Note: If you used low-qality PROXY files to edit with, you will need to relink your project with the ORIGINAL FOOTAGE or your NEW MASTER MEDIA (DNxHD/DNxHR) and then archive your PROJECT and that HIGH QUALITY MEDIA. ARCHIVING YOUR FOOTAGE BY ITSELF ARCHIVE YOUR YOUR ORIGINAL CAMERA FOOTAGE AS IS: The reason is that your ORIGINAL footage will take up less room and they always can be converted into another format later. Your ORIGINAL CAMERA MEDIA is fine for archive because that is the ORIGINAL QUALITY. ------------------------------------------------ If you are archiving, most people want to save money because storage can be expensive. It is not necessary to convert your footage JUST FOR ARCHIVE. If you edit with the ORIGINAL FOOTAGE, archive that. If you have converted your footage to a HIGH QUALITY FORMAT and you edited your project with that, archive that (or if you want to save space your can just save your ORIGINAL CAMERA FOOTAGE and PROJECT). The reason for converting your footage to DNxHD or DNxHR would primarily for converting all you footage to a single format so that it makes editing much easier. It also helps if you have different camera formats or different frame rates and you want to convert everything to a single frame rate  or format. This can eliminated issues in the EDITING process. Whether you save your ORIGINAL MEDIA as the ORIGINAL CAMERA FILES or the DNxHD/HR high-quality format, honestly your are set for archive. It's just that one will take up less hard drive space. ... View more

When you say: Your ORIGINAL XAVC footage is fine for archive as they will take up less space than the working media, Do you mean that Just save your Premiere Pro file AS Is for Archival? This would be a great choice if you just editing with your ORIGINAL footage rather than transcode. Your two choices for editing would be editing with your ORIGINAL FOOTAGE (which makes things easier) or TRANSCODE to a NEW FORMAT then EDIT. TRANSCODING would be better if you were MIXING different footage together and you wanted make all the footage the same for editing. My friend told me when you Import your footage Into premiere and do your Editing, and color corrections, you are not losing any quality until you go to the Export Tab, Is that Correct? This is correct. Premiere is really non-destructive. Losing quality happens on export and this is where you would need to focus after editing. This is why if you have the ability, just editing with the original footage first and then you can worry about output to social media, broadcast, theatrical presentations, etc. I am a PC user, not Mac. I heard for PC Users PRORES 422 does not work well with PC is that correct? I am a PC user as well! Though I use both PC and MAC. This information is incorrect. WINDOWS PC users can read and edit ALL PRORES in Premiere natively. I do it all the time. The trick is that if you want to EXPORT PRORES, you have to invest in PLUGINS like CINEMARTIN or REACTOR MEDIA LITE to export PRORES from Premiere. Or you can buy a number of Windows applications that can encode to Prores as well. Inside Export Settings- Format: DNxHR/DNxHD MXF OP1a, Is this a good choice? This is a great option if you need a high quality format FOR EDITING or COLOR GRADING. The reason being that this codec and format is a SMART RENDER CODEC. You will notice in your settings there is a check box for this. This enables faster processing while maintaining high quality. By default, when I take my4K Footage to the Export Settings and Choose:  DNxHR/DNxHD MXF OP1a, It Automatically Gives me the Preset: DNxHR HQ UHD 23.976. and the Resolution: DNxHR HQ 8-bit Inside the video codec-Resolution, I see DNxHR HQ 8-bit and When I take my 1080 10bit Clip to export Settings and Choose: DNxHR/DNxHD MXF OP1a, It Automatically, Gives me the Preset: DNX HQ1080p 23.976 Inside the Video Codec-Resolution, I see 1080p DNxHD HQ 8-bit Of course, it's a 10bit Clip, Do I have to change the settings for Video Codec Resolution? It depends on your footage, however, based on what you are saying, these would be my choices: FOR YOUR 1080P FOOTAGE (MAINTAINS COLOR DEPTH 10-BIT) 1080P DNxHD HQX 10-Bit or 1080P DNxHD RGB 444 10-Bit FOR YOUR 4K FOOTAGE (MAINTAINS COLOR DEPTH at 8 or 10-BIT) DNxHR HQX 8 or 10-Bit or DNxHR RGB 444 10-Bit And be sure to ENABLE SMART RENDERING when encoding. FYI--HQX is a High Quality version that would saving a little more space than the 444 version and the 444 version would be if you want the highest color level possible (note: like I stated before, concerning your 4K it won't necessarily improve your original footage if it was originally 8-Bit but you may gain some flexibility when you working color and add fx to the footage.) Out of all these Codecs would you please choose only One Codec, which one Is your favorite choice. Thank you very much My favorite codec is really basic on what camera I am using and what kind of project I am working on. It helps largely to know where you are going deliver this video: web, broadcast, theatrical, etc. I do love the one you have chosen, DNxHD/HR however, I also use CINEFORM quite a bit as well. If you tell use your intended delivery, happy to throw more stuff at you! ... View more

To answer your earlier question, Your ORIGINAL XAVC footage is fine for archive as they will take up less space than the working media. Here is a breakdown of answer to your questions as I understand them (please correct me if I've misinterpreted: When you are talking about CINEFORM YUT, OR PRORES 422, You are talking about Archiving after you have finished your Master Project, Correct ? No. I'm talking about transcoding your footage, both 1080P and 4K into one single high quality format for EDITING and FINISHING in Premiere. When I Import my 4K footage In Premiere, the Sequence Settings, Editing Mode Is: RED Cinema, 3840 x 2160 23.976fps and when I Import The 1080 Footage In Premiere, My Sequence Settings Editing Mode Is: ARRI Cinema, 1920 x1080, 23.976 fps. Because you are working with two sets of media 1080 and 4K at different framerates this can get a little tricky but you should be working with one unified SEQUENCE and force the 1080P to work in a 4K Sequence. Here is ONE OPTION for editing while maintaining a High Quality workflow with XAVC mixed media: METHOD For Mixing 4K and 1080P (HFR/Slow Motion) IMPORT XAVC NATIVELY (ORIGINAL FOOTAGE): You shouldn't have to transcode at all. Just import all footage into Premiere as is. VIP: MODIFY 1080P CLIPS IN BIN: Select all your 1080P "Slow Mo" Clips, go to CLIP > MODIFY > INTERPRET and set the frame to the FRAMERATE of your 4K FOOTAGE SEQUENCE. This will re-interpret your 1080P to play back as Slow Motion. USE 4K FOOTAGE TO CREATE SEQUENCE IN PREMIERE: Use your 4K Sequence to edit both 4K and 1080P in the 4K sequence. Note: You will need to select SCALE TO FIT to RE-SIZE 1080P footage to match the 4K size in your sequence. AFTER EDIT IS FINISHED: Just OUTPUT as necessary. A 1080P Output would look amazing and a 4K Output, depending on the footage should look respectable as well. METHOD#2 For Mixing 4K and 1080P (HFR/Slow Motion) TRANSCODE 4K to QUICKTIME (DNxHR) or CINEFORM (10/12 Bit) MODIFY 1080P CLIPS and RE-OUTPUT as QUICKTIME (DNxHR) or CINEFORM (10/12 Bit)--SCALED TO 4K Now that all your media is in one single HIGH QUALITY format, just CREATE YOUR 4K SEQUENCE and EDIT/FINISH as normal. I also noticed Inside Premiere Export Settings there Is: DNxHR/DNxHD MXF OP1a.  This is also for Archiving, Correct? DNxHD, DNXHR, CINEFORM and PRORES are WORKING FORMATS for EDITING and FINISHING in Premiere (though they all have Proxy/Low Quality settings as well). They maintain high quality through your entire workflow until you are ready to color grade and then output. However, they are also good for archiving. If I want to shoot Slow Motion, S&Q Mode, I can Only shoot at: 1080, Not 4K NOTE:  This camera Shoots at 10 Bit In 1080, and 8 Bit In 4K, so Techniquly, the 1080 10 Bit Is better? Yes, the 10-Bit footage has greater COLOR DEPTH and it should be easier to correct in Premiere. The 4K 8-Bit is still solid footage but won't have the same depth. If the footage is shot well, color grading should still be good. The question is, can you upgrade the 4K to 10-Bit. Yes, you can use a 10 or 12 codec like DNxHR or CINEFORM but the improvement is marginal and you cannot FORCE the 4K 8-Bit up to DEPTH of the 10-bit because that information was never originally there. As an additional note, takes more time and space, but the Method#2 above will provide the smoothest workflow for editing and eliminates a lot of potential issues. Method#1 is what many use for efficiency and speed. ... View more

If you want the "Highest possible quality" you should not be using H.264. For the record, H.264 is a high compress format even at its highest. But the truth is XAVC is quite compressed as well and the guts of XAVC has a lot in common with H.264. If a HIGH-QUALITY format/codec for working in Premiere, I would suggest Mezzanine/Intermediate codec: QUICKTIME (CINEFORM YUV 10-BIT) at QUALITY 4 (of course if you bit depth is higher consider CINEFORM 12-BIT) QUICKTIME (PRORES 422/HQ or 444) QUICKTIME (DNxHD for 720p/1080p or DNxHR for 4K+) These codecs will most likely be higher bitrate than your footage, so while it won't improve your actual footage, it will allow more flexibility when working with your footage. All these codecs beat the bitrate you have listed with the H.264. If you are looking a super high quality codec for web/social media: H.264 @ 30-45+ megabits/second to high encode for web. Here is what Youtube lists for 4K video: Type Video Bitrate, Standard Frame Rate (24, 25, 30) Video Bitrate, High Frame Rate (48, 50, 60) 2160p (4k) 35-45 Mbps 53-68 Mbps This is why 16 megabits is not great for what you are listing if you were referring to web export. All of this largely depends on your camera footage and what you want to do with it. If you were referring to footage you can work with in Premiere--the Highest Quality, won't improve your footage but can improve successive transcodes, visual effects and color grading scenarios. Personally, I am very impressed with CINEFORM and DNxHR for 4k+ material. We have worked this material for broadcast a lot. It provides a very smooth workflow in Premiere. Since I am raving about it, here is the older breakdown of the CINEFORM QUALITY slider: We use QUALITY 3 and 4 for almost all our workflows. ... View more