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R Neil Haugen
LEGEND
R Neil Haugen
LEGEND
Activity
‎Aug 18, 2025
02:50 PM
1 Upvote
There are two "formats" or Premiere that are designed to work with collaborators. Team Projects and Productions. Team is the older form, and is still usable for certain types of things. A user originates a TP, and then from the option from the menus, invites other participants via the email address they log into Adobe CC apps with. The TP communication between users is via the Adobe CC cloud. But ... the media files need to live "on" each user's machine. There are some things that are different, especially in file management, from stand-alone Premiere projects, but it's not too difficult to get it sorted out. You probably will need to ask questions, and of course ... TEST everything! The other, newer option is the Productions mode of Premiere, which was designed for large production work needs and remote users. You do need a way to 'share' the Production ... such as by using LucidLink. There are a number of things different about Productions working but it is spectacularly better for larger and more complex projects. To start a Production you use the Premiere menu option for new Production. It creates an actual folder on disc, which you specify, and a .prodset file in that folder. IN PREMIERE, the Production panel, you then add folders by right-clicking in the Production panel area, "create new folder", name it, and use the folders you create to organize your project. These will both be seen in the Production panel, and are real folders on disc. Within the folders you right-click "create new Project" and use those new projects quite a bit like we normally use bins in stand-alone workflows. So a folder tree for Media to house the various media Project folders ... where you actually import media. And ... in another folder tree, you have Sequence projects ... projects devoted to sequences. You have the production folder open, a Media project shown, select clips, drag onto a sequence open in the sequence project. and showing in the Program monitor. No duplicates ... and it doesn't bog down with large projects and a lot of media. I have worked in Productions for several years now, with our media and our Production files living on Amazon S3 servers in London. My partner is in Cape Town, SA, I'm in Oregon in the western US. He's all Mac, I'm all PC. He'll call to say he's uploaded something from Cape Town, I'll see that appearing in the 'virtual drive' LucidLink puts in the system, within seconds of his starting the upload. And can gothen to Premiere, and the import the media or AfterEffects mogrt or whatever in Premiere, dropping it onto a sequence ... starting playback ... and it isn't even finished uploading from Cape Town to London! Seems like magic, but we've loved working in it. Or internet upload/download speeds are both above 300Mbps, with low latency. If needed, you can "pin" a file to local storage, but use it as if it was via the LucidLink 'drive'. The Adobe documents linked below are the best docs they've ever produced on general use of Premiere, let alone the Productions information. Should be read by everyone even if you never use a production. Premiere Pro Productions Introduction Using Productions in Premiere Pro Adobe Long-form and Episodic Best Practices Guide Jarle’s blog expansion of the pdf Multicam section: Premiere Pro Multicam
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‎Aug 18, 2025
09:06 AM
1) Still curious about have you used the Nikon software and 2) is that an internal SSD? And hopefully not the one that the OS/Programs are on ... nor the cach files ...
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‎Aug 18, 2025
09:04 AM
Huh ... that's just not behavior I'm familiar with. Maybe @PaulMurphy could advise? I do wonder at the reason for going clear to 0? As for everything I've done, they've wanted an absolute limit around -3dB at least, some at -6dB. As clipping occurs with anything at 0 and above.
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‎Aug 17, 2025
11:25 PM
1 Upvote
There are an incredible amount of troubles, across all the pro video apps, with the 50 series Nvidia cards. I use and 'haunt' both the Premiere and Resolve forums ... it's an issue with the new cards, and maybe things that need to be done differently in firmware/drivers and in coding in the apps for these beasts. So quite a few users put their old 40 or 30 series card back in just to keep working at the moment. SOME users have been helped by the lasted Nvidia driver of around the 15th of August, some worked with iGPU settings on their mobo and got going .... and some cards just work. Total sympathy, but this is something that Adobe, BlackMagic, other app/software companies, and Nvidia are all working on to get fixed. But doesn't seem to be totally fixed on all 50 series cards at this point.
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‎Aug 17, 2025
11:20 PM
Wow ... I've never had this happen in over a decade! I can just G to add gain, and push to 0 or past, and start clipping, with any clip with solid levels in the original recording. What level does your original clip show in the meters?
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‎Aug 17, 2025
11:07 AM
What codec are you using in RedCine? Have you tried using Nikon app to convert from RAW?
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‎Aug 17, 2025
11:05 AM
Sometimes when this happens, signing out then back in to your CC Desktop app fixes this. Or launching AfterEffects first, then Premiere second. And having both open.
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‎Aug 17, 2025
09:37 AM
The entire "needs more grading" is simply that the S3Cine remaps to Rec.709, but ... in doing so, with 8 bit media, you're also typcially risking losing a bit of data. It's kinda like shooting say ProRes mov in Rec.709 in camera, rather than log-encoded. It's designed to get the clip data shifted to the Rec.709 dyanamic and color range needs ... but ... you lose the greater data of the original file. There are two ways to use your original file and Premiere's capablities to get 'better' image data. The first, is to go through the list of Override options, for log media to Rec.709 .... and try them all. You may find that one works very nicely, and you can skop doing any manual work. For instance, I typically shoot BRAW, and like to bring that into Premiere in 'log' so I can collapse data into Rec.709 under my taste choices. And they don't have a specified format override for that. However, I have four choices I've written down, for whether I want a bit more contrast or less ... and that's spiffy. And past that, it's actually very easy to take a file with a bit wider range and create presets to 'normalize" the image to your taste within Rec.709 ... save the preset, or even tell Premiere to make a LUT from your Lumetri settings. Then you simply use the Lumetri preset of choice dropped on all the clips in the bin ... this is "Source Effect" use ... or apply the LUT as an Input LUT. Both quick and easy in application.
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‎Aug 17, 2025
09:13 AM
Ann is correct. You need to use color management these days, as things are far more complex than they used to be. Another issue that you are probably hitting is how you determine what Premiere is "doing". Using QuickTime Player on a Mac ... unless your Mac has Reference modes, and you set that to HDTV .... will show a wrong image. Period.. Because Apple for some unknown and irritating reason, does not apply the by-standards spec for display transforms for Rec.709 media playback. The spec? The long-used standard for all Rec.709 professional work is the full Rec.709/Bt.1886 set: sRGB primaries, D65 white point, and display transform roughly equal to gamma 2.4. All broadcast and streaming media is produced to that standard. Macs without reference modes set to HDTV will use essentially gamma 1.96, which produces a screen image of lighter shadows, and less apparent saturation. But on those screens only! ALL other screens ... Macs set to HDTV, PCs, most TVs and Android devices, and all systems compliant with professionl broadcast standards, will show a darker image of the same file. To check this, use VLC or Potplayer on any non-Referece mode Mac. You will probably see the correct, darker image. And yea, this is a pain.
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‎Aug 17, 2025
09:04 AM
1 Upvote
Ahh. My comment was just a practical one to keep working now. Which many people seem to miss. But you're already doing that, wisely. We always gotta get stuff out to the nice people what pays our bills no matter what screwups we hit.
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‎Aug 17, 2025
09:03 AM
Good catch, Ann.
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‎Aug 17, 2025
08:44 AM
And what other effects do you have applied to the clip? Some effects cause Premiere to internally drop into non-GPU mode for the processing chain. And gets this issue with Warp. So you might try applying Warp, nest, apply other effects. Though I normally recommend applying Warp and doing an immediate render & replace of the clip on the timeline. As that gets Warp done and gone. Making adding other effects, playback, and export simpler.
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‎Aug 16, 2025
08:41 PM
You can always go back a patch. And get th correct matching Ae too.
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‎Aug 16, 2025
06:05 PM
What is grayed out is the option to go into Software Only. I would suggest restarting while holding the Shift key down, select delete all cache files, and see if it works.
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‎Aug 16, 2025
04:35 PM
1 Upvote
They changed behavior. And this dialog is now confusing. So it IS using your GPU, and that option is grayed out as you cannot select Software Only with Premiere open now. To go to Software Only requires closing Premiere and relaunching holding Shift down. In the dialog box select Software Only. Weird but true.
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‎Aug 15, 2025
06:44 PM
Color Management isn't a pick here and there, it must be a consistent set of appropriate settings. All color management is now best controlled via the Lumetri panel Settings tab. The tab named Settings. And that is both new and very confusing at first. What's your system? That can be important. I do recommend Display Color Management on for nearly all users, extended dynamic range also if on a Mac. Auto detect log and auto tonemapping both on. Tonemapping involves using complex mathematical formulas with many available if/then options, often provided to Adobe or BlackMagic by the camera maker. Algorithms are typically far "safer" to the pixels than LUTs, which are only text sets of maybe 16, 32, or 64 points. Triplicate RGB at this point goes to that point. Everything in between is a straight line. And there's no if/then so if the exposure of the media differs from the exact exposure the LUT was built using ... Oops. Clipped or crushed pixels will occur. That's why algorithms are better, they won't clip or crush pixels. The above is "general" but will cover most users. Your DJI media might be a problem simply because DJI always pushes recording/encoding options to the currently available limits. I do know a staffer has noted there is a particular DJI device media that has some problems in Premiere at this time. It would be useful to see screengrabs of the entire Lumetri Settings tab, with all sections from Project to Sequences showing.
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‎Aug 15, 2025
03:17 PM
1 Upvote
As someone with both years with Photoshop professionally and a decade in video post specializing in color modifications, yes I have a few comments. Everyone coming to video from stills work still thinks it's the same thing. I certainly did! It isn't. Two major things, first ... Photoshop is built to run 1 image through the computer. An NLE is running at least 24 images per second through the computer's processing capabilities. The loads are completely different by several orders of magnitude. Therefore the tools cannot use the same math or processing coding or structure. Second, matching images is needed in video work, between images with entirely different hue and tonal characteristics. When I'm working, yes, I'll copy/paste to get images from the same camera settings to something. But what I set those to has nothing to do with any other clips on the sequence. The numbers are then completely irrelevant. What is of great use? SCOPES. I always work to the scopes! Waveform in YC no Luma, Vectorscope, and RGB Parade. And that is how video color is most commonly handled. All the best with your request, as of course ... that might be useful in certain workflows. Why not have it? But with experience one might find, as I did ... that Photoshop and Lightroom just didn't have as much relevance as I was certain they did. Everyone's mileage always varies.
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‎Aug 15, 2025
08:23 AM
No clue what you're referring to. Do you mean use of the iGPU?
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‎Aug 14, 2025
10:21 AM
I think nearly everybody has at least some lower-powered kit, we're ALL noobs, just with different spots. And everyone's mileage always varies. Yup, all good!
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‎Aug 13, 2025
10:54 PM
Sorry, but there's no way I could give a precise answer ... I don't know the media used, the effects you use, how many tracks each video/audio you're running, and your disc connetion data. Which all can affect this type of thing. I don't think that CPU has any iGPU at all ... most AMD chip don't, though perhaps some of the newest ones finally do. So all long-GOP "hardware" encoding/decoding would have to be done by the GPU ... which is totally dependent on 1) the GPU's capabilities for this and 2) the app's coding for use of the GPU. Processing always starts with the CPU, with certain things sent to the GPU as the CPU gets to the point that the GPU processing is useful. And Premiere has a number of specific things it sends to the GPU, and many things it doesn't. Typically. So knowing the exact nature of the media, effects used, and disk feed data is oft necessary to fix playback issues.
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‎Aug 13, 2025
02:24 PM
First, I don't understand the assumption that this must be happening to others. As much of the time, basic weird crud is a local-machine specific thing. In Troubleshooting 101, that is the first assumption to test. Basic stuff ... have you closed and relaunched while holding shift, selecting to dump your cach files? As corruption does get into such things at times and causes weirdness.
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‎Aug 13, 2025
02:14 PM
Do you mean this?
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‎Aug 13, 2025
01:33 PM
Not having the latest high powered rig isn't a problem or denigrating thing. Most of us have varying devices. So my desktop is pretty beefy, but my laptop was a beast ... back in 2019. Now? I can still use it and just upped it to Win11. But my comment about working smart is simply tge same as I have to do with that now-old laptop. Use proxies or previews as needed. Know what codecs and effects it can handle, where it struggles. Make render and replace operations with complex effects on a clip. So nothing was meant ... but that you need to recognize your rigs capabilities, like with any other hardware. And use brainpower when computer power ain't quite up to the need.
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‎Aug 13, 2025
11:31 AM
Well, it sounds like you're doing it quite righteously ... just getting whapped with something. Ouch! We've never 'pinned' anything to local storage, as all our Production jobs just ran fine without it. I tested it of course, and didn't have any issues. But we just never felt the need to use it. But then both my partner in Cape Town and myself in western Oregon have above 300Mpbs sustained down/up speeds with low latency.
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‎Aug 13, 2025
11:13 AM
There are built-in audio transition handles now, that you only see when 'zoomed in' to a clip ... but they are there in every clip. They don't 'do' anything unless you drag them out. I think that is what you're seeing. Try expanding the original sequences ... 'zoom in' to them. Do you see the same thing?
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‎Aug 13, 2025
11:11 AM
Wow, that's a big pain ... yowza. I've been working with LucidLink since their "proof of concept" days, and haven't had any issues like this. So that is rather disturbing, that you're getting this. I assume you have all the Production and the media "out there" ... ? My only question ... is did you put the data (media files and such) in the same folder trees as their Production projects? I ask because that is a no-no, one is supposed to leave the Production folder tree setup by Premiere with only the project files in them, the media imported to the files should live on folders outside that Production. So I set up a folder structure for our shared media on those Amazon S3 servers also. Next to our Production.
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‎Aug 13, 2025
11:02 AM
You didn't list which GPU you have there. Which would be good to know. Next, that 6 core CPU doesn't have any internal graphics computing ... that is what the F in Intel CPU nomenclature stands for. So there is no internal "hardware" encoding/decoding for H.264/5 long-GOP media in your CPU. And at only 6 cores, it's barely able to do standard encoding for Premiere anyway. And these days, 16GB of RAM is tiny, again barely enough for Premiere to run. So you can work in Premiere, but you are probably going to need to work smart ... for instance, using proxies made from long-GOP H.264/5 clips in ProRes Lt ... they might be larger on disc than the original file, but will go through playback typically a lot better.
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‎Aug 12, 2025
05:57 PM
The staffer was asking for additional information, it seems, because on their system it works. So it would be a valid question.
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‎Aug 12, 2025
05:33 PM
I think what he means is the computer system must be set to the same language as Premiere Pro. That's all. If I read that correctly.
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