If it is actually encoded in real logarithmic math, and not the pseudo-log some cameras and drones do, then ... it shouldn't matter whether the file is tagged Rec.709 or not, it should be usable on an HLG sequence in Premiere.   So it would be nice to get a short clip, and be able to test it here myself. A link to a dropbox/wetransfer, or via the forum's private messaging service would work. ... View more

Those I believe are the components of the final file ...  ... View more

Within a sequence, you can of course render previews to your preferred format/codec. Would that work for you? ... View more

Ah, now I think I understand your workflow issue. And yea, that's a thorny one. As you're telling Premiere to do different things at export by reading the file's 'native' state, not the Sequence state. I can see where that would hang.     ... View more

Did you make a subclip, of that 10 seconds, and apply Warp to that? I can't tell.   And Warp is not an AI/machine-learning thing that recreates essentially new images. It only works with the pixels that are there, though it does do some upscaling at times as part of it's process.   If this is a horrid section though, PeruBob's suggestion is about the best that can be done.  ... View more

I would need to see basically the entire Lumetri panel Settings tab to see how the many CM settings are set. Open ("twirl down") all sections, do screengrabs, and drag/drop the screen grabs DIRECTLY onto the text reply area, don't 'attach' them.   So we can see the pictures as part of your post without having to open them separately.   And I would note, in the one pic of the camera media, HDR is turned off, well ... that leaves Rec.709 as the only other option. It's either Rec.709, or HDR in either PQ or HLG, and you aren't using the HDR formats.   So really, I'm wondering if you aren't quite getting what to expect. If you have auto detect log and auto tonemapping, and a sequence set to Rec.709 as you show, then Premiere will not show a "log" image, but one remapped to Rec.709 by algorithms made from and with assistance of the manufacturer. (Not a LUT based operation, thankfully.)   So ... what do you expect to see, and what are you seeing? Screengrabs and specific descriptive statements, please.   Which doesn't hav ... View more

So as a test just now, in PremierePro 25.5.0 (b13) ... as of this moment, the current shipping build ... I:   1) Selected a section of a 24fps progressive BRAW clip on a 24fps progressive sequence; 2) Exported this as ProRes 4444 clip in 29.97i, upper field first; 3) Checked the file in MediaInfo, file data: 29.97i upper field first; 4) Checked the auto-reimported exported file in Premiere's Media Properties, shown as 29.97i upper first.   Then I created a 23.97 progressive sequence in Premiere, and dropped that 29.97i clip onto that sequence. At the prompt, I selected do not change sequence settings.   Then I exported the clip, as 23.976p, and in MediaInfo, the resulting file shows as 23.976p.   And plays back just fine. A correct, 23.976 progressive file.   Note: no "interpret settings" dialog use whatsoever. ... View more

The one thing you don't show having tested is the one thing that the very broadcast experienced users working for major b-cast companies said to do.   Take the interlaced ProRes file, and simply drop it on a progressive sequence set to the proper fps for the export. See what happens. Shouldn't take a minute to do.   It worked perfectly in my testing and use. As it normally does apparently for many standard b-cast workers. ... View more

Ok, a little education.   First, toss the use of the ancient "gamma comp'' LUT, as there is a more sensible workaround now. That is, if you want to make an image that looks sorta like you want on only Macs without Reference modes that are set to HDTV. But is too dark and contrasty on all broadcast compliant systems, Macs with Reference modes set to HDTV, and nearly all Android devices, TVs, etc.   In the Color Management section of the Lumetri panel, the Settings tab, the tab named Settings ... set the Viewer Gamma to 1.96/Qt. Then just work the file as you want, and export without any LUT applied. The export will look very much like you in-Premiere view if viewed on QuickTime Player, or Chrome or Safari browsers. Like unto the old LUT thing.   Of course, it will be dark and contrasty/oversaturated in VLC and Potplayer, on Macs with Reference modes that are set to HDTV (so they use the correct display gamma for Rec.709), broadcast compliant systems, TVs, Android ... about everything else.   Because the issue is caused by Apple choosing to use a non-standard display gamma for Rec.709 video but only on their 'prosumer' Macs.   The full-on heavy duty Macs have screens with the Reference modes, with the option for HDTV, which uses the correct Rec.709/Bt.1886 display transform used by everybody but the Macs without Reference modes.   So your choice ... is your choice. Just understand exactly what you are choosing. As you cannot make a file that will look the same (well as much as is possible) on both Macs without Reference modes and everything else.   But setting Viewer Gamma to 1.96, then doing your color correction to your liking, is a vastly better replacement for the gamma comp LUT than using that LUT. ... View more

If someone gives confusing and incomplete information, how are we supposed to guess? My question was because there was clearly something major missing in your posts.   The post where you note it is just a few seconds of a bump of a tripod shot answered that. Had you given that information originally we would have given useful answers instead of questions. Data like that is crucial.   I would suggest making a subclip of the section that's jiggered. A couple frames before to a couple frames after. Stabilize only that section, and it may take some trial and error of the several different main stabilization methods it can use, and the level used.   You may not be able to completely remove any trace of "something" going on, though. ... View more

If it is static, why are you using Warp? ... View more

OneDrive is the key here. OneDrive like most cloud-sync apps puts headers in the file to track when it needs to update the sync. This causes a problem as NLEs like Premiere then think it's not exactly the same file.   That's the first issue that's problematic.   The second is what you hit, which is using the sync app to do folder maintenance and deletions. This screwed up Premiere's expectations of what's where so it can't function.   You probably need to use the CC app to uninstall what's left of Premiere, reboot, and reinstall.     ... View more

Question:   Did you go through the steps around this outlined by the staffer above? ... View more

You have a difference in the way the desktop rigs CM is setup.   Are both those and the laptop using the same settings in the OS for monitor color space/settings?    And go through the entire color management setups in Premiere on all the rigs too ... there might be an issue with say auto detect log being on here off there, as with auto tonemapping, and the precise clip and sequence CM settings. ... View more

There is a reason good sound people always record several seconds of "room sound" ... sound with nothing going on, just the local ambient sound ... as that is a small but crucial part of being able to then deal with things like re-creating comments later via voiceover.   So ... so you have any 'room tone' of the outdoor clip you are trying to match to? Preferably 2-3 seconds of just ambient audio? As then you could create a long enough piece but cutting it into a few bits and randomly grabbing them and dropping them in a track to create the length of sound needed.    That might help. ... View more

Thanks for the information! ... View more

You may have had an update of Premiere, or you may have had different settings pop up in your phone. "We" can't know of course.   But CM is simply something you must learn to manage now as there are more options than before.   So look at Ann's link and start getting a handle on this. It isn't going away.   Some suggested settings are go to the CM controls, all found in the Lumetri panel's Settings tab, the tab named Settings.   Set color management on, auto detect log and auto tonemapping on, set sequence to "direct Rec.709" ... and that would probably be the simplest way for you at first. ... View more

OS/CPU/RAM/GPU ... type of media, both general format and the specific audio codec, and are any 3rd party plugins active?   MediaInfo is a free utility although the site is a mess with ads ... it's the general standard though for getting file header details. So install it, drag/drop one of those files onto the desktop icon for MediaInfo.   It will open a small window, select the "Tree View" , and grab a screen-shot of the full info, video and audio detail sections. Drag/drop that onto the text reply area so the image appears in the post.   Oh, and hopefully your Preferences for audio, the Default Input, is set to none ... ... View more

Wow ... you must realize the code is different depending on the OS, right?    The devs for this, for Resolve, for Nuke, always want full specs ... OS/CPU/RAM and etc.    You're suggesting hunting across all different code sections possible ... I don't understand why you wouldn't prefer to get them started on a much faster process. ... View more

I caught that. It was pretty clear.   But neither process, as I understand the technical stuff, involves a full pull-down.   I had a requirement to take 23.976p, 24p, and 29.97p to 29.97i, for potential broadcast. I asked a group of experienced b-cast editors (I've done so little I don't count myself 'there') about how to do it, thinking that going to Ae might be suggested.   They all said just make a 59.94 upper-field first sequence (29.97i) and drop the other clips on it, see if there's a problem. The potential problems to look for they said were slight changes in length and/or a bit of audio drift, both easily fixable.   At my surprise they said that's what they do first, and only do other things like run to Ae if there's clearly a major problem.   It worked. Which is no guarantee, but it's a quick thing to try. Takes about ten minutes to create the sequence and drop clips on, check playback, do a test export. ... View more

If you want help, you must provide troubleshooting information ... or all we volunteers can say is "gee, that's unfortunate".   We'd rather help ... which is why we are 'here'. ... View more

Please give the data needed to sort this! OS/CPU/GPU, probably. There has to be some specific thing setting this off, as most users clearly do not have this. ... View more

Thanks, Fergus ... this is a well written bit so we can understand not just what, but how and why something works. ... View more

Weird ... with a clip selected with the 25.x run, this is my ECP.     ... View more

I would need a much more detailed explanation to intuit what you are requesting ...  😉 ... View more

How long are the clips?   If you have an hour long clip, even jammed cameras will have some drift to the audio a lot of the time. The shorter the clip, the lesser the problem normally. ... View more

As staffer Kevin has posted here many times, in phone support or online chat, always ask for the video que!!!!! ... as soon as you get a human resonding.   That gets you up above the generalist help, who apparently do work totally from a script.   Video que staffers actually know Premiere and AfterEffects. ... View more

Have you tried simply putting the clips on a sequence of the correct settings? That is what a whole group of b-cast editors told me to do, to get even 24p set on a b-cast type 29.97i sequence. As the most reliable method.   So with a 25i-fps upper-first just putting that on a 24p sequence ... how does that work?   Interpret Footage I've been told is really meant for more of a 3:2 pull-down, which you don't actually have that I can see. ... View more

As noted several times in this thread, it's easy to work with iPhone footage in Premiere.   Auto detect log, auto tonemapping, voila. Done. Either working in HLG (a form of HDR) or in good old Rec.709. ... View more

Huh ... I've worked with a fair amount of both iPhone and Samsung phone produced video, and without troubles. So I'm not sure what you mean by 'doesn't support iPhone videos' ...  ... View more