I've used LucidLink since the "proof of concept" days. My shop is in Oregon, all PC, two of us, our partner is in Cape Town, SA, all Mac. Our entire Production/media/fx and etc. 'lives' on Amazon S3 servers in London.   We both now are running around 400-450Mbps up and down solid, I used to run 250+ though without a problem.   Mo is one of the most amazing Ae wizards I have ever been around, and well ... I know quite a number of "known" people, and he puts out complex but visually amazing things in minutes. We've layered tons of tracks of sound effects, multiple UHD video, and with it all seen by our computers as on a local drive ... as LucidLink handles things through a 'virtual drive' on the local machine.   He's called me via WhatsApp to tell me he is uploading media and files to our filespace, I'll go into my virtual drive and yep, they folders are already there. Within a few moments I get filenames, and when I do, I can import those to Premiere and throw sequences together, including playback.   And the upload isn't even finished from Cape Town yet!   So ... given my experience, and my knowledge of the crew at LucidLink, who give the best service this side of Omniscope, what were the problems? I'm really curious, as this process is used by most of the really massive major long-form projects around the world ... media from set uploaded nearly 'live' to the project servers, and editors hitting the rushes minutes after they're uploaded. During the day of the shoot.   Did you ever go on their Slack channels about them? The users and staffers tend to respond near instantly in our experience, for the very few times we needed assistance. ... View more

Every file normally has several date/time fields in the file header. Premiere uses one specifically, and that is at times a differnt one than is used in other apps. Each different date/time field may be used by certain apps for specific date/time information or expectations. And yes, this can be confusing.   Depending on how the user has setup their OS finder/explorer for the field typically shown for date/time, again, Premiere may or may not be using the same field.   In Bridge, if you go through the total options for metadata types, so you see all potential date/time fields, note the one that aligns with Premiere, and which ones don't. ... View more

Try basic troubleshooting 101 for Premiere ...   1) on launch, hold down Shift key, in the pop-up dialog select delete all cache files, allow to start.   If that doesn't fix it,   2) on launch hold down Shift, delete cache, trash preferences, and don't load any plugins/extensions, all those options.   See if that works. ... View more

@Ann Bens  or @Averdahl or @Richard M Knight ? ... View more

Your GPU is rather ancient, though it looks like the Turing cards still get the newer drivers ... what driver number are you using?   Next, your CPU does have internal processing for long-GOP, but ... isn't a particularly new/hot CPU. So "adequate" I guess.   Now ... what you're wanting to do is to process up to 20 tracks, simultaneously!!!!... of the nastiest format/codec out there for editing purposes ... that is something you need to understand.   To play back one track of that, the computer must process, create frames for, and store between 9 and 50 or more "partial" frames, both in front of and behind the 'current' frame. Note that the vast majority of frames have only a number of pixels in them ... much of the image is from another frame, and so the computer needs to mesh frames from several frames to create the next displayed frame.   That is why colorists ... who have typically 'heavy iron' hardware that dwarfs yours, do not want to work with long-GOP for grading ... and typically as soon as they get such from a client, do a transcode to say ProRes422 or something, that they will import and grade with.   Yet editors, with much lesser machines, want the original long-GOP to "just work".   With a really, really high-end rig you might get 10 or more tracks of H.265 to play back ... maybe. Other than that, proxies, rendering sections of the timeline, or t-codes are what are the practical working methods for you. ... View more

We have no way of knowing what your problem is ... do you like one better than the other, or how to match them, or is this input or timeline or export question ... or ... what? ... View more

There can be issues with the occasional gif, jpg, or png file, depending on how that file was created and the options used for creating it. Hard to tell in advance. Sometimes taking them into Photoshop, and simply re-saving as the same thing or similar will get a file Pr will work with ok. ... View more

Ah, the issue is with a single GIF file? ... View more

This is primarily a user to user forum, with staffers monitoring and posting a lot more than they used to. I would hope you get a staffer jumping in.   In my experience, bug reports are used internally, but are not so often replied to. Which can be frustrating with a situation like yours.   And it's clear you are having a horrible experience, but it is not one that most users are having. Which suggests that something that hasn't been figured out yet is mashing your machine.   I'm all PC, use quite a bit of OBS output and some phone media in my work, and am not having any troubles whatsoever. So finding the details of what is causing that hot mess you're stuck with at the moment will probably require some troubleshooting.   For a first question, have you created a project in say 24.x, and if so, does that work correctly? ... View more

Ahh, yes, theatrical would want a 24p ... but most broadcast is still 29.97i in the US, hence my query.   So at this point, one can justify about any of several working scenarios. In general, though, for 29.97 to 24, I'd do what the b-cast folks I know tell me to ... just drop the 29.97 on the 24p timeline, let Premiere do it's thing. ... View more

If you are working with the viewer gamma set in Premiere, either the 2.2 or 2.4 setting. adjust that according to the brightness of the room you are doing color work in, NOT whether it's done for "web" or "broadcast" usage.   That's what that change is by the standards expected to be used for. Pretty dark room as a colorists suite, use gamma 2.4. Brighter room around normal 'room' lighting, use gamma 2.2.    If you are exporting on a Mac (one without Reference modes set to HDTV) then checking in VLC or Potplayer, you would not use the gamma compensation LUT. And anyway, with the viewer gamma option, there is no real reason to continue using the old process of the gamma compensation LUT at export on Macs. ... View more

What is the destination use for this project?   So what deliverables will you need to create at the end? ... View more

MKV is a 'container'. What specifically is in your mkv files? Do you know what created them? ... View more

The vast majority of times this happens, like Ann says, is because of a drive issue. "We" long-time users have seen situations that happened where either the drive was having instability issues, or the OS decided to lock down permissions to a folder tree, or the user had inadvertently done so, or say MS OneDrive decided to take over their folders and cut off Premiere's read/write permissions, so it couldn't "see" the stuff that was still there.     ... View more

If Premiere 'sees' a GPU it can use, it does. The user doesn't have the choice to turn it off any more. Only possibility is per 'launch' of Premiere, if you hold down the shift key while launching, As then you get a dialog of options, one of which is to go 'software only', which leaves the GPU out.   But on the next launch, it will revert to using the GPU as it normally does.   As to import delays, and playback issues of lag and sync, that isn't a GPU thing. Something else is off. ... View more

Premiere uses the GPU for specific things, not as a general integral thing with the CPU. So depending on what is going on, the GPU may be used heavily or nearly not at all.   For instance, in Warp stabilizer, the GPU is not used much during the first part, the analyzing. But in the application of the effect to image pixels as the second step, the GPU can be used very heavily.   For long-GOP encoding, what role the GPU plays can vary dramatically depending on whether your CPU has an integral iGPU specifically designed for long-GOP or not, compared to the long-GOP capabilities your specific GPU has.   So before one can 'know' that it's a problem specifically, one needs to know exactly what is getting processed at that point in time, as that will determine which asset is used for the task. ... View more

Ah, separate sound. Then this is an odd thing, as I've never had audio say effects or other types I've added slip like this. And as swooshes and bangs and pops need to be timed and stacked, I've often been in audio timecode while setting that up.   I've never had them change on me, like clearly they are doing for you. So I am definitely puzzled as to why this is happening. I'm just stumped.   @PaulMurphy  ... any ideas? ... View more

Do you unlink the audio clip, move it, then relink? That what I do, and I've never had it slip later.   Which would drive one around the bend, no question ... so I'm asking just to make sure you're doing the whole needed process, as if you are ... there's a problem here for sure. ... View more

You are mis-understanding the way they completely reversed that display option in the 25.x builds.   IT IS USING THE GPU.   That section is grayed out because they don't allow you to disable the GPU while the app is running.   Because they only way to get to the old "software only" option that doesn't use the GPU, is on launch.   IF you hold down Shift while launching the app, you can select from several options like clearing cache files and ... disabling GPU use in Premiere.   But as soon as you close and launch again, it will use the GPU.   ... View more

This is a massive problem, it has always been so, and yes, many of us talk with staffers in person every year at NAB or IBC or MAX about this issue.   Doing a "render & replace" option of the sequence .... setting things correctly, even though the right result you want isn't always obvious (to be polite) is one way of getting this out of Premiere. For some users, this can work, as the 'rendered' clips it creates are what you want.   For others, sub-clipping, then selecting the subclips in a bin can work. For many users, that doesn't get the thing they need.   For really getting it, Knights of the Editing Table has a plugin that can do this.   Yea, it's a pain. ... View more

Yes, you've been using that card for eight years, which by computer standards means T-Rex is simply aged, not long gone. There are no driver updates in the future for that card from what I've seen the forum's resident expert on such things say.  And note, most of the 900 series cards are already not usable in Premiere ... that that one is recognized at all amazes me.   There are other options out of OBS, which I use quite frequently, so I would not recommend the MKV encoding if you're working with Premiere. That is your choice, so choose something that works better. Same file data. ... View more

That is normally because Premiere does not have "permissions" to access the folder for both read and write. The other thing is that sometimes, on PCs, MS OneDrive 'moves' the folders to OneDrive managed ones, that limit access to other apps. ... View more

If the assets were 'housed' in another project, as is typical in Production mode, and the other project was then removed from the Production, then those clips would no longer appear in that Production. They are only referenced in the sequence project as from that other project file. ... View more

It's always a pain to hit things that bite like that. Your autosave situation is certainly a mess! And I do see that some users have constant issues with Ae comps, which again, would be maddening. Total sympathies on that.    There are others here that actually might help you get those sorted better, as for many shops, they don't have near the crashes you're getting. It would be nice to get you past that!   I can answer about Warp and remapping ... Warp is a two-part process, first running the clip to analyze, then from the analyzed data completely re-creating the clip's pixels. It is the most intensive computing process in Premiere, even more demanding of resources than Neat Video Noise reducer.    Time remapping also requires completely re-computing the pixels displayed per frame ... and is also a heavy resource hog.   Applying them simultaneously can easily cause processing errors. Which is why one is not supposed to do so.   Using Nest, you can apply one, nest the clip, then apply the other, and that normally works.   But realistically, given the massive demands of both operations and the limits of any computer's capabilities for doing multiple complex operations that both affect all pixels of a clip even sequentially, it is more practical to do one, do a render & replace to proper DI standards, then you have a 'clean' clip to apply the other to.   You can always 'restore unrendered' if you need, but other than that, playback and further application of effects and exports will be much smoother and faster. ... View more

The current thing is to create a screen element, then use the Properties panel to further modify. I highly doubt its going 'back', as this is the way this sort of thing is done across all the CC apps. It's a major UI design standardization thing for Adobe apps. ... View more

You can specify whether you want everything moved to a new bin.   ... View more

Select all in a bin, right-click, create multicamera sequence.   Select whether to sync by audio waveforms or by timecode. ... View more

PeruBob has the answer ... if you do an update, as we did on our machines, you should still have the earlier apps installed and usable. Mine came through fine, and I've got back to Pr2019 on my main desktop.   But ... if ... instead of an update, you do a clean install, which wipes the disc ... then you will lose all previous app installations, and from the CC app at this time (October 9, 2025) you will only have the 25.x and the one previous version, 24,x, available.   As of Adobe MAX in another month, when they will probably release the 26.x version, you will have only that 26.x and the 'previous' 25.x available. ... View more

The underlying color management processes were dramatically updated and changed from especially early 2024 and the 2025 series. So if you are not now setting the full CM set correctly for your needs, you will get surprises.   Hens Dani's questions. What is your OS/CPU/GPU, the media you use, and your full CM settings in the Lumetri Settings tab ... the tab named Settings.   As once that is correctly set, this should work as expected. ... View more

Thanks for the clarification, this is information that is really needed for many of us. As always, the devil is in the details ... and if we don't have the details, we get surprised. ... View more