We users never know the specifics for any decision no matter the company. None of us can answer specifics on why one does one thing another doesn't.    While you clearly have a specific need for MKV support, it's still not a widely used codec for most workflow needs. I would guess that is still a consideration.   I wish it were otherwise. But then I have interest and need for color tools past what Premiere offers at this time. Which the devs agree would be very cool and useful. For tge 20 or 30 of us users who would actually use them.   I'm not holding my breath, mind you. Though I do hope they get better MKV support for you who need it. ... View more

As I mentioned, the GPU is not just another bit of the CPU. They are entirely different devices, and use completely different mathematical and code formats.    So their program documentation lists specifically what processes may use the GPU if avaliable, and if you don't have any of those effects or processes going, then there is no expectation of utilizing the GPU.   Plus even when the GPU will be used for something, it is used as the CPU is ready to send something to it. Which can be affected by quite a range of things even including cache read/write sustained speeds.   So with more information on your sequence media and effects , we could make educated guesses as to usage issues. ... View more

They changed the behavior ... if it is grayed out, inside the program menus, that is now because it is being used and users can no longer disable the GPU inside the program.   In order to disable the GPU, to go to Software Only, you have to close Premiere, relaunch holding the Shift key down, and select Software Only.   Past that, it uses GPU resources for specific things, and not as just another helper to the CPU/general processing. ... View more

Thanks for posting those details ... and yea, Premiere's time code options need to be built a lot bigger & more flexible. No question there. ... View more

I've seen too many things from the Idea ... or the old Feature Request page ... make it into Premiere to be able to give that comment credence.   There is of course a major disconnect between the way we users see things and the devs. From talking with the devs, there are always thousands of user requests/ideas ... and also, the ones with the most support "by the numbers" are often things most of the more um ... perhaps paid? ... userslike thee and me, would find rather absurd.    Add in that no one ever edits like anyone else, of the millions of daily users of these apps. Which is always the most fascinating part of NAB for me, the aisle-way discussions with other attendees.   So what any of us thinks is most logical and useful ... might not be even thought of interest, by another major user. Let alone those with vastly different workflows and deliverable needs.   So I've gotten a bit more understanding of the difficulty in choosing what gets done/added. ... View more

Interesting ... have you tried simply using auto detect log and auto tonemaping, with display color management on, extended dynamic range if on a Mac ... then setting the sequence to HLG?   I think they do support some of the DJI log media now ... and that should work. ... View more

Depending on the tool used for the conversion, there should be a process to get all metadata crossed into the new container. That said, some fomats and options used have at times been less than optimal for how one can handle the file data later.   And for certain choices that have been made by someone in the past ... the only forward choice is manually transferring data. Which is a right and total pain, and yes, I did get some first hand experience with this.   Our youngest just competed his Master's in library science with emphasis on archival ... and this was something he was tasked to report on for a couple classes. With Dad being a video post dude, Dad got queried on some issues he was having. He was able to solve them successfully, but still ... I was struck by how fragile the entire 'ecosystem' is, really.   So while I always support requests to get users more options ... this is one that, I think from memory ... is finally getting some official care, as again, it's a much smaller share of the pie than most other things the app works on or with. I get that.   But it's not going to be a fast rollout ... and I do wish it were other. As I do with about 50 other things. Sigh.   ... View more

I'm sorry you took a gently worded pist as somehow insulting. Which was not intended.   I did mention experience as that is most useful in establishing a base point for assistance.   I would note, I was trying to *politely* get details as you had not given any. Had you shared tge information of your second post, we could have started a more fruitful discussion.   Now with those details,  we can definitely note that issue that we users cannot set a default sizing for the program monitor. AGAIN.   As this is something that gas come up numerous times over the last decade. And for which I have argued for that setting. Because in specific workflows like yours (and several others of course) this is simply needed.   THAT is the detail that  needs to ge stated here for the devs. And maybe an Idea posts would more directly get to them. ... View more

I've been using Premiere for over a decade. I've nine custom workspaces that use 3 or 4 monitors depending on the individual workspaces. If I use the Transmit Out on one screen, which I do for most of them.    I never ever have a problem with the program monitor disappearing.   So I'm thinking it might be due to how you're setting that up. Tell us and let's see if we can get that maddening behavior fixed. ... View more

Welcome to the forums! There's a lot of other users like me here happy to volunteer to help sort out all kinds of things from workflow and use questions to hardware troubles.   That said, as to your issue, I have no clue, as there isn't enough information. Information is really the heart & soul of all troubleshooting.   OS/CPU/RAM/GPU ... the exact version of Premiere, as in 25.3.0 ... the media in use, format/codec/color space and what created it ... effects used on the sequence being exported ... and the export presets you've used.   For export issues, note that Premiere must have 4-5 times the final expected file size free and available on the drive you are exporting to.    And that for video glitches, the GPU and the GPU driver used are also crucial data bits.   Give us that, and a screengrab of the glitch ... just drag/drop that directly onto the reply box so it appears directly in the post and we don't have to click/download to see it.   And there's a number of us will be happy to help. ... View more

They changed it this version so you can only disable while holding Shift on launch. It's confusing but it's using your GPU.   The CPU and GPU are not simply extensions of each other. They are completely different devices with different code doing different things. You can ho to their Help docs and find a list of things the GPU does.   Abd incidentally, the F in your CPU name means it has no iGPU, so the CPU has no hardware for internal long-GOP H.264 encode/decoder working. ... View more

No one is saying the old way is good. Period.    We agree with wanting the change. Period.  ... View more

Why on earth did you assume either MyerPj or myself thought a desktop shortcut a good "final" solution? I simply don't understand the leap of logic there.   We simply noted a possible workaround for what is totally accepted as a major lack in the program. That is all. As a simple, practical thing to make it less of a pain, while pushing for the new changes.   Personally, as noted, I've been pushing for a completely rebuilt organizational structure for years. And upvoted this abd the several other similar requests over the years.   And with the shortcut you can add as many LUTs as a time as you wish.   Just because never EVER add your LUTs into the folders with Premiere's own LUTs. You mangle the order of everything there. ... View more

Is there a reason you're using sync on the sequence rather than the multicam process, which is designed for combining video and separate recorded sound? Just curious. ... View more

Please help by giving staffer Dani the samples requested.   Some users are having this, but many aren't. So I think they need to find exactly what is triggering this as far as file formatting from the drone ... when used specifically with what computer hardware and effects chain. ... View more

HDR can take some time getting used to what settings are needed. And that process can be quite confusing.   But a bigger problem is so few systems/devices/screens actually display any form of HDR correctly ... even if they say they handle one or two. As someone who works for/with/teaches pro colorists, this is a discussion I'm around a lot.   And it is very frustrating to them.  The same file displayed on five different devices that do HLG ... will look quite different on every one of them. Even DolbyVision will not be the same between TVs.   But there's nothing we can do about it. Which just sucks. ... View more

What is tge file format/codec? ... View more

In case you haven't noticed, there are many threads on this with Premiere ... as there are on the BlackMagic forums with Resolve ... and others.   Clearly some of the 50 series cards have issues that Nvidia has finally acknowledged, and that Nvidia, Adobe, BlackMagic and others are trying to get sorted out at this time.   Some users changed to a different 50's card, and that worked. Some tried that, it didn't work. Some have gone into the bios and changed the processing speed for the card successfully, but for others, that didn't help.   And some simply updated or rolled back the Nvidia driver and their card works.   Yea, it's a mess ... and I'm sorry you and others are having the trouble. I was ready to get a 5070Ti to update my 2080Ti ... but under the current circumstances, I'll be waiting until this is fixed. ... View more

Fair enough, as color management is a massive black hole of rabbit holes. But what I'm trying to do here is show you how to actually evaluate in a potentially successful, usable manner. And down below, I'll talk about the probable difference between Resolve and Premiere exports.   First, as noted above, there isn't any such thing as a consistent color view across devices. Period. Isn't even physically possible. So trying to see what Vimeo shows on one computer only shows you what Vimeo shows on that computer, and has no bearing nor relevancy to Vimeo, or any other playback app, on any other screen in existence.   Frustrating? Of course. But sady, true.   You do realize that no device actually sees or records color, right? All that sensors can record is brightness ... and by the use of filters over the sensing elements and a ton of math processing, the engineers totally manufacture what appears to be color to our eyes. Karl Soule has even frequently quoted me on that to get his audiences to begin to understand the journey of light to color.   And all manufacturing lines have tolerances ... we simply cannot make any two sensor elements identical in response, let alone, a whole panel of them. Which is why all sensors and LED panels are graded after assembly. The more even/accurate panels are sold at much higher prices for special uses, the less accurate ones for general prosumer gear.   And yes, that is a large part of why a Grade 1 Reference monitor costs a lot more than a normal monitor. And why "but that Reference monitor and this computer monitor for a quarter the price use the same panel" is also an irrelevant statement. That basic monitor starts with (comparatively) a lesser quality panel.   And all camera makers ... for each camera ... assemble a series of parts, come up with a 'firmware' to drive them someplace together, and sell that to us to use. So they combine parts from all over, that are only used in that one camera model as an assembly. Hence each camera is a bit to a lot different in response to other camera models.   But even with identical cameras, the responses will be somewhat to notably different depending up lenses settings and all.   The same is true of screens. Which is why any assumption that all those seeing your production on Vimeo will ever see what you saw on your machine is simply a fallacy of understanding. They simply can't.   But even on the same screen, take an iPad ... watch a dark scene in a show on a park bench at noon, and in a dark bedroom at night. It will look quite different due to simply the changes in the surrounding ambient light and reflections.   So chasing "accuracy" by looking at the image on a monitor or TV is simply a fruitless endeavor.   The only way to ensure that your media is given the best shot to be seen across devices ... is have it done on a properly calibrated tested system, and then ... let it go as is.   Because then, as I commented before, you kow that your program will look, in relative terms! ... in similar fashion to other professionally produced media on that screen.   That's all a pro colorist can do, and essentially, you are trying to outsmart the professionals at this. I know it seems sensible to try doing this, but ... it isn't.   Differences between Colorist media and Premiere media   I'm wondering if the colorist used the Rec.709-A export option from Premiere. That doesn't change the media, but it does put a different number in the file header's NCLC tagging. Which is a non-standard use of a number that has no setting by any standard. But the BlackMagic devs realized that the use of that number somehow makes the Mac ColorSync utility use gamma 2.4 for the display transform.   But as that is not a set standard use of that number, the Adobe devs do not use it. In testing that I've seen colorists do, on other non-Mac systems that 'extra' NCLC tag can cause other issues, so while it's sort of a cadged fix, it's a bit dodgy at best. I think that might be another bit of why Adobe doesn't use it, but they won't say of course.   So Premiere will not export with that number.    If you have part of the bit directly from Resolve, and part directly from Premiere, you would have two different views on a Mac without Reference modes!!!! ... if  the colorist used the Rec.709-A setting at export from Resolve.   Final comments: 1) You can't match across screens let alone OS/Programs/devices.  2) Macs without Reference modes (set to HDTV) will display using a transform different from all other devices, including Macs with Reference modes set to HDTV. This is not "fixable". 3) Premiere's gamma compensation LUT changes the program file image data at export. 4) Resolve's Rec.709-A export option does not change the file image data, but it does change the file header NCLC tag.  5) So the two workarounds to the "gamma issue" on Macs without Reference modes set to HDTV are both ... partial ... and potentially problematic. 6) The majority of colorists simply grade to the standard and export stock Rec.709 as that is the safest way to get a view "similar to other pro produced media" on any screen out there. And is required for broadcast/streaming deliverables. ... View more

I just realized I reallly need to correct one major assumption you seem to have ... that is, that if you make it look like a certain way in Vimeo on your screen, it will look the same in Vimeo on other screens.   Lose that assumption, as it is physicially impossible for that to happen.   Colorists are taught that no one, ever, by any possible deliverable method, will ever see what you saw on your screen.   There isn't any such thing as a common color schema ... in fact, as has been demonstrated numerous times, the top color science & calibration people in the world cannot make two "identical" screens, sitting side by side, fed the same signal, show identical images.   Then throw in all the vagaries of differences in the electronics and firmware and OS and user settings and app settings that are designed to "enhance the viewing experience" ... and every screen will be different from any other.   It drives colorists about around the bend when starting out.   So what does a colorist do? They set up a system that is as tight to the standards, the specs, as possible to do their grade. Not because anyone will ever see the same image, but only because ...   when you do that righteously, your media, seen on all other screens, will look in relative terms like other professional media does on that screen.   What that program looks like in Vimeo on your system is totally irrelevant ... unless! ... your system is pretty close to the standards.   And "by any deliverable" above, that includes theatrical release, broadcast TV, streaming, and DVD/BluRay, as well as web release.    You are trying to outguess the viewing situation, which is a total impossibility. ... View more

Your results are somewhat of a puzzlement ... which leads me to wondering if the colorist used the Rec.709-A out of Resolve ... that might explain things.    What is your viewer gamma in Premiere set to? And on a Mac monitor, or other? ... View more

You're worried about accurate "out there", and not on your Mac, right?   Then do not use QuickTime Player to check your work! Not on a Mac without Reference modes. Period.   Note that QuickTime player, on your Mac, uses the wrong display transform.    Stick with VLC or Potplayer, although ... Premiere will be more 'accurate' than most prosumer apps if your setup is correct. ... View more

I've asked for this for YEARS ... it would be so freaking useful!   Upvoted. ... View more

I'm thankful that staffer Dani has commented on this, as I've seen several posts about this problem over the last couple months.   I cannot replicate on my system, which is a PC, so I'm wondering if this is a Mac specific issue. Or something else that simply doesn't affect my system perhaps.   But glad to see they're aware of it. Which means they are probably working on fixing that because it's a right royal PAIN. ... View more

Again, the issue is actually your system ... that Mac OS utility ColorSync. It uses a non-standard display transform of (essentially) gamma 1.96, rather than the specified gamma 2.4.   So if the file is viewed on a system and app with ColorSync involved, it appears lighter. If without it, it appears darker.   It would be useful for me to know what exactly your colorist is exporting to when they output the file. As there is a "Rec.709-A" option in Resolve, and if that is used, the file will be rendered for export with the brighter file data.   Also, just to make sure, you haven't set your monitor to "full" levels I hope ... they should be left either auto or legal for Rec.709 use. ... View more

Premiere can be used on heavily professional projects like broadcast/streaming and handle all of this quite well. But it can be confusing at first. Understood.   So the computer and monitor need to be set correctly, and the correct color management settings in Premiere for your media and what you want to do.   As Premiere can work from SDR/Rec.709 through HDR in both HLG and PQ, with a wide range of media, we need data from you to help get this sorted.   So ... OS/GPU, the monitor, the clip media specific data for color space/dynamic range and created by what, and what you want to end up doing with the media. What use will you export to/for?   With that, we can get you going without troubles. ... View more

Right, they've got a whopping three or so. But a lot of anamorphics for the Big People cameras are not the ones they give. So to me, most of the 'standard' anamorphic lenses are covered by the Premiere options. ... View more

Not offended Mike, I was just trying for clarification myself. Please remember, no one "here" is at your machine, or begins with the slightest context for any questions asked. And context always matters. I prefer a lot of context, as it reduces guessing. Which is good for everyone.   Premiere's render-suggestion colors are just that ... suggestions ... for when it thinks you might have struggles with playback. Most of the time, when I do have red render bar showing, I don't get any hiccups whatever ... no dropped frames, no slowdowns ... and I never have troubles when it shows yellow.   So I don't often need to do a render to get playback settled as it's not an issue to begin with.   That of course will be different for every computer, media, and effects and workflow.  As if you've got 6 video tracks and 12 audio tracks plus mograts plus effects ... on most any system, that may well need rendering to get solid playback. ... View more

Matt's suggestion of the plugin is by far the best way to do this available. It just works, is accurate and fast to use. ... View more