What really sucks is this is Still a bug. If resetting your preferences solves the issue that means there was a bug that caused it. My guess it's Adobe messing something up when they have an update that makes changes to the preferences. They try and keep your preferences, but probably mess up formatting or something. It's sad that since their solution is usually to clear your media cache and reset your preferences they don't just make a tool to more carefully go through your preferences and recreate the file for you. It's easy to forget to change back some really important preferences like disabling writing XMP ID to files on import, Write clip markers to XMP, and enable clip and XMP metadata linking. If you're working in a team and one user enables those it can Really muck things up and I know a couple are enabled by default.    This bug happened to me today on Premiere 23.2.0, windows 11 pro. So it's not gone away, and it probably won't because the "solution" is to delete your cache and/or preferences. In my case today, deleting cache was enough.  ... View more

Adobe could Really improve their support community by having them all be the same through all of their software, And bring back the ability to report things right in the help menu. That's how I got here, and was immediately presented with the radio button for bug report, which is what I did. So the fact that it ended up in the wrong place is on them.  ... View more

To the item I already read and responded to? No. That is a request, and this is a bug report.  They Are related topics, but not the same. ... View more

I just noted and reported it, but there currently looks to be a bug when doing that. With the automatically updated layers, the edit panel doesn't get updated if you've added items. So be cautious of what else they didn't get right. Like, if you had an old default value of 40, then in premiere you changed some of them to 45. Then you updated the mogurt and now the default is 50. Will replacing them all keep the changed value of 45, or use the new value of 50? I would expect it to keep the 45 since you changed the value, but I wouldn't trust it.  ... View more

I don't think 14bit raw and a 16bit image are storing the same information. An HDR image, for example, is stored as 32 bit, OR 16 bit half float. Photoshop can not store that option that I am aware of. But the advantage is not that it stores 32 bits of decimals, but rather than it stores 3 o more values for every pixel, in order to define a mathematical curve. This is what describes the "power" of the pixel rather than just a more precise color.  Based on what I'm looking at in an image of a lightbulb that is blown out, I can lower the exposure and actually see more detail. If I open it in photoshop as 16bit, without first lowering the exposure, then lower the exposure in PSD, the information is lost. Converting to 32bit makes no difference.    Based on that, my guess is that the Raw image stores the pixel information differently than photoshop. Because of that, you Can save a raw image out at several exposures, then combine them into a 32bit image and gain more light information than simply opening it as a 16 bit image. I tested that out. It works. BUT I very well could be messing up the color accuracy. But if you didn't take bracketed shots, then you don't have much of a choice. ... View more

Well that's true. A relatively easy way around that is to use OBS to show only a certain area, then display that stream on that other screen. Some monitors also let you crop the screen directly, and  Of course, then you're back to using your processor again. And you'll also be limited in color, where if you're outputting HDMI you might be able to output 10/12bit color.  ... View more

Ha, at that cost, just buy a field monitor with a vector scope and have that duplicate your screen. You can buy one for $300, or a nice one for $700 and Then you have a nice field monitor in case you get into video content. As an added bonus, your computer doesn't have to calculate the vectorscope, which is pretty intensive (although in premiere it just got GPU acceleration) And yes, field monitors are small, but you only need it for the scope, so that's no big deal. ... View more

Well, as stated, the reason for using H264 is size. We are sharing proxies, and everything else about the project other than full footage, via cloud storage. In order to use ProRes 422 Proxy and get it anywhere near the same size, since the only way to control bitrate with that format is to adjust the size, is to cut the scale by 40%. Since I was already cutting the scale down to 1364x720 (for 17:9 size), that brings me down to roughly 720x380 to be comparable in size. But it doesn't look comparable till it's the same size, but the proxy format is nearly double (183%) in filesize. At this size, btw, I'm using a bitrate of approximately 10Mbps and using 10bit for H.264. Proxy is either 8bit or 16bit.    I also wasn't aware of the Premiere Proxy workflow requiring parameters to match. That's a Huge pain in the butt, because if your footage has an odd audio format, or No audio, then unless you make your own proxy format for that footage, it won't work. The funny thing is though, it does work....Once. Premiere will send the footage over to AME, render it, and bring it back as the proxy file. But if the path changes, it won't let you choose it as a proxy file.    I'm primarily working out of Premiere at the moment, but quickly figured out, if you have more than a few pieces of footage to make proxies for, Premiere is the place to do it. AE is Much slower, and you have to do one at a time. In Premiere I can select 100 files at once and send to make proxies. Then you just copy the footage and paste it into the AE bin and it comes over with the proxies defined. Of course, a few things break if you go back and forth, like Lumetri color Luts paths don't work so you have to repath them all.    Thanks for letting me know that AE has a way to just cut the resolution sizes by fractions. It's just too bad that AME doesn't have that because AE is MUCH slower at rendering. I'm not sure the differences in how they render, but its a shame I can't just check a box and tell AE to make whatever sacrifices premiere is making to render more quickly for previews. Something like a title block should render in real-time or faster for previews, but every time a title block, or other AE file comes up, things just Drag.    Are there some good points as why ProRes 422 Proxy is so much better than H.264? The things I've seen is, better color, and less CPU intensive. But since I'm shoving the resolution down to something close to 720x1280, it seems like even if CPU usage doubled, going from 5% to 10% of a single thread CPU usage would hardly be a concern, right?  ... View more

This is why it would be Super helpful to let use create presets where you could specify a maximum height or width, or set a percentage of original size, then select "keep aspect ratio." This way you'd have proxies that may have different resolutions, but they are all based on the original files. Having to create a new proxy preset for every type of footage we might get, Then have to figure out how to share that preset with the team (PLEASE let us choose our own paths for things like that so we can collaborate more easily), is a not the most efficient use of time. ... View more

Well Adobe uses 2 different font engines. They admitted that when someone mentioned Roboto, one of the most used fonts for XD applications doesn't look the same on Mac and PC. Adobe's version of Roboto, for example, is less current than google's. Once I deactivated Roboto and installed them from google, I had it more similar to my coworker on a mac, but still different. But THEN I noticed, as I zoom in/out the text objects were Wildly changing positions. So my guess is they are, unintelligently, moving the font to be "pixel perfect" based on Some attribute, for every zoom level. I'll attribute this to Acrobats absolutely Stupid thickening of lines that are thin. And of course, often times that completely fails and instead makes thin lines invisible. And for outlined fonts, you now how thicker lower case "Ls" everywhere. For something that's supposed to standardize how things are viewed, they sure screwed it up a whole lot.    Try different zoom levels. I bet the fonts in question shift at every different zoom level. ... View more

Yes, our terminology is definitely not working. One of the main reasons I assumed you were on a mac is because your path was mac/linux direction. Windows uses \ and Mac and Linux use / But I'm not sure I follow saying the luts aren't in the program folders. The path is: C:\Program Files\Adobe\Adobe Premiere Pro 2022\Lumetri\LUTs\Creative for the built-in creative luts and that is Fully inside the premiere application folder. This also seems quite dumb because you'll find copies of the exact same files here as well: C:\Program Files\Adobe\Adobe Media Encoder 2022\Lumetri\LUTs\Creative And another copy right here: C:\Program Files\Adobe\Adobe After Effects 2022\Support Files\Lumetri\LUTs\Creative And notice how the AE path doesn't even follow the same format? Anyway their page showing the user LUTs specifically say not to use Any of the folders that I just listed. But they also provide the location there as well, which is a bit misleading. I stopped trying to put anything in program files because every little update ends up deleting them and I have to do the same work again. On windows, it's bad form for programmers to have users try and access those folders. I'm not as familiar with Mac, but I believe the same is true there now, because you either have to leave the user unlocked, or constantly have to go to the unlock screen to raise privileges which is quite a few more steps on a mac than on windows. ... View more

Well it worked before the update. I still have all the LUTs that I added in the AppData folder. And we aren't actually supposed to use the Program Files folder. Are you sure you're on windows? Because you typed your path like a Mac user.  Also I'm on Windows 11 Pro. But there are no permissions issues with the AppData folder because it is in the user folder, which each user automatically has full permissions to.  Team Projects is related to projects for teams (which I would not recommend because the only Adobe software that understands what collaboration is XD), not Adobe Creative Cloud for Teams licensing. They pitch that as what you need to get for volume licensing, and they Say you get better service. The volume licensing discount is a sham, as the price is raised 40%, and then they show that you get a 10% discount once you reach 10 licenses. So it's actually a 26% price increase. You do get one feature though, the ability to manage your team from a console. So you can assign a license to a different user if someone leaves and is replaced. And you also get the ability to use a purchase order to pay. That experience is Terrible every year because they forget to invoice us, and even after I request the invoice it's late and we usually end up paying for everything a month or two late.  ... View more

It's no longer reading the LUTs from %AppData%\Adobe\Common\LUTs\Creative  (Windows obviously) Oh, and if you work for a group that chose to purchase creative cloud for teams, don't get too excited. Not only do you pay extra for Really nothing more than license management through a single website and a dedicated sales person who doesn't return your emails, but You don't actually get frame.io included. Isn't That awesome? Oh, and if you want to get substance as well, you'll pay more for that Also!....Just because they can. ... View more

Yeah, that seems to be the solution that lots of people mark as correct. And for large projects where you have many documents going on at the same time while still developing a brand look and feel this solution is just plain bad. Not only that, but if you have storage concerns, then all of your documents either end up with duplicates of the same files in every folder OR you have All of your indesign and illustrator files in one folder, with a links folder inside that folder containing every single linked objects in one giant flat folder. Well, no one I've found likes that, so everyone just lives with having duplicates everywhere. And if someone updates something like a logo color slightly, and that logo is in every links folder that exists, then you either have to search out and replace them all, or not realize that and end up having a bunch of "final" documents that turn out to be incorrect. It's Really annoying that Premiere and After Effects both use relative paths to find anything, and do so successfully, but InDesign, Illustrator, and Photoshop do not.  ... View more

It's pretty lame that you can't add an expression for layers. It makes me wonder why Adobe left the property pickwhip next to them. I really just wanted to use thisComp.layer(index - 1) for mine so I could more quickly hack something together.  And before anyone gets all upiddy about just using a trackMatte, they aren't the same. I've got a rather complex title box that is Fairly responsive, driven by essential graphics. Checking continuously rasterize fails. It was not designed for that. And my coworker wants the background blurred behind each instance. So my hack was to use a set matte effect to point to the layer above, alpha, then I crushed the alpha gamma 3 times. It only lets you get to gamma of 5. The layer above has a rectangle that is 60% transparent. So the first one probably brought it to close to 10%, the second one probably got it to 1% or so, so I added another one for good measure. Then I used That layer as a trackMatte for the adjustment layer below.  It was fairly low on the time consuming scale, and it did it's job for now. But there are a Lot of titles. It would have been nice if I could have done an expression so that all I had to do was duplicate the two layers and move them below the next title. And repeat. But I then have to select each one, and select the title from the dropdown one at a time.  I hoped to cheat it somehow with a pickwhip, but no such luck. Sure would have been nice if they had that open to expressions, or Some way to drive it. ... View more

You'll have to redo that every time you edit something in the MoGRT that might change it's size though right? Because they wouldn't be linked. For instance, I've got my background box resizing to all of the objects that are in it. I want whatever is below the composition (I'm saying comp because I'm using essential graphics in AE) to be blurred. Sure, in my case I can just create extra layers that match the size of each instance of the title boxes, and create expressions to link the blur values, etc. But that's not very "essential graphics/MoGRT" friendly is it? I'd like to export this after the design of this project so I can use it in Premiere for future projects.  But if I just make a copy of each instance of the title block, and then go back and edit the title block, there may be a size mismatch. So I have to make the same change for the object below, or it's not going to work.    I could Maybe add all of the titles in a precomped version of the entire timeline, then use the media replacement tool, but that's Really not what it's designed for. It would be complicated, if possible at all, to get the media in the correct position right? My titles will get placed in different positions in the composition. So to place the copy of the precomp I would have to try something like get the position of the title (not sure if you can do that?), and offset the footage based on that location. But wait, there's more. Maybe you've scaled or rotated your title block?  I'm not even sure if that's possible.  ... View more

Of course, that only applies if your science is correct. I'd love to see what the significant difference between perception and appearance is. I asked a couple material engineers what that meant and they both laughed and suggested things about whoever said that. If you were trying to say there is a significant difference between an obejct's measured color and it's measured color in a camera under uncontrolled lighting conditions, then Yes, absolutely. But with the terminology you're using, I'm not finding any scientific reference to it, but perhaps I'm missing some context for finding better search results? ... View more

Wow, almost 4 years now, and it's a "known issue" that still persists. I guess that goes to show you how much Adobe cares about making their software work well. ... View more

Thank you. I love how the people all answer "Bleh, bla bla, you aren't using precomps because you don't know AE." But clearly they've not come up with a request that would create a precomp loop. Linking things together gets very annoying, and more time consuming, when you need to link things together between comps, because if you had things parented, if you precomp, you just broke that. So precomp, then go through and fix all of those things. Oh, but you can't just replace a parent by linking position to position with an expression either, because that doesn't keep the offset. So now write a more complicated expression that subracts the difference. Oh, and you had to precomp 50 layers to make the adjustment? So you have to create the expression 50 times. So sorry that it's unnecessarily time consuming, but that's just the way AE works, and you're not using it right...right? I so hate this answer. I always want to use set matte to replace track matte, but it doesn't. Track mattes work completely independently of position and scale. So if you want to replace it, then you have to be sure you are working with objects that all have the same scale, and now you're going around precomping everything to fix one problem, while creating a bunch more. So, put it on an adjustment layer. Oh shoot, you have a background layer that shouldn't have that? Back to precomp again. Oh, but that broke all your expressions? Well that's just how AE works, adding several days of fixing garbagage because they don't want to admit that adding an effect or button for not being effected by an adjustment layer would often save a ton of time.  Sometimes you have 3 months for a project. Awesome, plan away. But sometimes you have a few hours. A button that gets you what you want, even though you didn't plan for it, is extremely useful.  ... View more

This is awesome, and I was Super excited about it.....until I tried it.  It doesn't work if some of the layers selected have no effects. So, you know, layers like Nulls? Those Might have effects, but usually not right? ... View more

So have you figured out how to do it with media encoder? This is useful for single projects, but also quite useful if you need to render something like 100 clips as separate clips at once. If I know I have 3 machines available, I could just send 33 on each machine, but that requires time for user input, And not all the computers/files will render at the same time. It's much better when one computer just picks up the next job upon completion.  ... View more

You're thinking too simplistically. A path, in after effects can be a compound path. So when someone says path in AE, it's not the same as in illustrator. It could mean multiple paths, as one path definition. You can have 18 open lines as "the path." 5 of those lines could be reversed, where the other 13 aren't.  So you can't just put a negative number to make the path switched, because that changes the Entire path, meaning all 18 lines in that example. There is also a reverse path direction on shape layers in after effects, but you've got the same problem. If those paths need to be treated as one path, for something like a shape morph, then the direction of those are important.   Instead, copy the lines, paste them in illustrator. I suggest adding an arrowhead to one end so you can preview direction easier. Then select the reversed lines there, reverse the direction. Then copy the paths, come back to AE select the paths and hit paste to replace them.  This also works for closed paths of course, but it's more difficult to see the direction in illustrator.  ... View more

This is Such an unacceptable solution by SentinalOne also. And as Akash is suggesting, if you can't turn it into some sort of alert mode, then it could be effecting productivity in nearly All of your software, and you'd just be cursing how slow your computer or your software is, not having a clue that all along, it was just because SentinelOne was keeping you from working.  Try running blender. It's Aweful.  It seems everything that is doing GPU computing is being effected by every new action. But it's difficult to know. Maybe it's Also slowing down the entire thing.  ... View more