Phillip Harvey
Community Expert
Phillip Harvey
Community Expert
Activity
‎Mar 09, 2024
11:20 AM
4 Upvotes
I wanted to add in my voice here that I also personally experience this issue in 2024, but in helping out on reddit and Discord, I see the issue pretty commonly posted about from others as well and I have no troubleshooting advice to give.
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‎Jan 24, 2023
05:42 AM
I need to provide a transcript as part of my deliverables, and I will say that I was really impressed by the transcript tool *inside* of Premiere. If I could export that to a table or text file exactly as it appears inside of Premiere, with speaker and timecode, then my work would be done. As it stands I need to manually add the speakers and timecode. It's almost there! Just a little further!
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‎Jan 11, 2023
02:05 PM
1 Upvote
I see this in Discord as well, but check the color space of your clip and sequence.
If your clip and sequence are in an HDR color space but then you are exporting into a Rec709 color space then you are seeing the color remapping happen on export. You'll need to change the color space of your video to Rec709 in the Project, and also change the Sequence color space to Rec709.
Some more info in this video: https://www.youtube.com/watch?v=odwptnEhxJs
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‎Jan 06, 2023
03:09 PM
13 Upvotes
I've embarrassed myself I don't know how many times at this point by the new export window ignoring in/out points by default. Yes, obviously we need to QC exports, but when the default behavior for the last decade was to recognize in/out points in the timeline, my muscle memory trusts that this range will be honored without taking the extra step to set that on export.
It just makes sense...
If In/Out Range is defined in the Sequence - Export Range defaults to that
If no In/Out range is present - Export Range defaults to Entire Sequence
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‎Dec 19, 2022
10:28 AM
Re: DJI - there are still posts about it all the time across various forums, so it's not old news to many.
I wasn't commenting on the fidelity of your H265, just the optimization for post production. I'm sure they look great.
It seems like you have the answers so I don't know what else there is to offer. Look for the delta between when it was working and when it wasn't. Try a different version if the version has changed. For your original question it sounds like you have multiple fast options for your scratch disks, so there's not going to be any bottleneck when it comes to your media or cache.
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‎Dec 19, 2022
09:19 AM
Seems wild to me, but if that's the experience you're having then enjoy it 🙂
You're saying that when you render the timeline it's not playing back smoothly? (Edit: Sorry I guess it's obvious that's what you're saying. Just confirming.)
What kind of video previews are you creating? All of the scratch disks you described sound fast enough to run most kinds of video previews that you could create. So to me it still sounds like it could be a source media issue. Where are these clips coming from?
Revisiting the HEVC/H265 thing. Are they variable framerate? What device are they coming from? DJI products are also notorious for their encoding. I've been doing this almost 20 years, and while DJI hasn't been around that whole time, I can tell you that any time I've ever used media from DJI the performance is extremely poor compared to even other unoptimized media of the same type. When they started implementing HEVC for 4k workflows it's now not uncommon to see hitching making its way into the final encodings. So if you're working with DJI media I'd also investigate that. Is it the playback that's having an issue? Or is it the video preview with hitching being encoded into it? Check the frame drop indicator in the Program Monitor.
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‎Dec 19, 2022
09:08 AM
Doesn't seem like any issue with your scratch. You are working with the worst possible media for real-time playback that exists on the market right now. Absolutely the most complex possible thing for a computer to decode (H265/HEVC), at a high resolution, unknown framertate, unknown whether or not there are other issues like VFR (from a phone). Even with a nice setup you are asking for trouble working with that. It's a losing battle to try to out-hardware media or workflow issues. But that's my experience.
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‎Dec 19, 2022
09:04 AM
Honestly I'm not noticing anything flickering on my end. Is it very subtle?
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‎Dec 18, 2022
11:24 PM
4 Upvotes
Try: Edit > Preferences > Audio Hardware. Set the Default Input to No Input.
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‎Dec 18, 2022
11:22 PM
1 Upvote
It looks like you have Track Keyframes turned on for those tracks, judging by the keyframe envelope (line) that's going through all of the tracks versus just the clips. This makes it so that you're just editing that parameter on the track and you'll lose the ability to cut or manipulate the single clips. Change the track keyframe type back to Clip Keyframes.
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‎Dec 18, 2022
11:14 PM
You need to assign a Camera Label to each camera, like A, B, and C, with the metadata display.
Here is a video that explains it: https://youtu.be/lvqWS_lE7ac
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‎Dec 12, 2022
03:51 PM
There are a couple of ways they might do it - and I'll be general here and this may not be a thorough list, as I don't actually do this type of content myself:
- Their face camera has its own media so it's doing its own recording (like a mirrorless or DSLR or something)
- They use two different recording softwares or capture devices to capture the two separate angles
- They record with one screen recording application, but they record twice the width, so if you had a 1920x1080 screen recording, and a 1920x1080 camera recording, you would have a "canvas size" of 3840x1080 where they'd have the face cam on one side and the gameplay on the other side. Then they would just put that very wide video into a 1920x1080 sequence and move it left for one angle, and right for the other angle.
With all of these scenarios you'll have to keep in mind that you either need the hardware or the computing power to be able to do these recordings while also doing whatever you are screen capturing. Some of the workflows that would involve a camera or an external capture device could help offload some of that processing so that the computer isn't the thing doing all of the work.
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‎Dec 12, 2022
11:24 AM
I'm a touch confused about why you have a Mask on the Crop effect. That seems a little bit redundant and may be conflicting in an odd way. If you want to use a Mask instead of Crop, then put that on the Opacity effect and you don't need the Crop effect at all. Otherwise, if you want to use Crop, just use the Crop parameters.
Another alternative here is using a Track Matte. You would still need to use Transform of Offset (placed above the Track Matte Key effect) to do the movement.
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‎Dec 12, 2022
11:13 AM
Making it full screen would mean you have to scale it up and reposition it to fit the screen, which you can do in Effect Controls with Position and Scale.
By "keeping the quality," I'm assuming you mean you want it to be the quality it would be if it had been recorded at full resolution, but that would not be possible if you had recorded it at the size that it is scaled down in the corner. That will be the highest quality available to you if that's how you recorded it, which means it would not look as good when scaled up.
If you want the full res quality to be as good as it can be then you would make sure to record that camera at full res, separate from the rest of your screen recording.
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‎Dec 12, 2022
08:35 AM
1 Upvote
I do think it's a circumstantial thing and depends on how much work you're doing in AE for each one of these shots.
I know for me personally when I am doing a video where I have like 3-5 - typically quite basic - shots to do in AE, I'll often just keep one AE project.
But in an agency setting then usually the shots are broken out into their own independent project files. Part of that is because you may have different animators assigned to different shots.
I would also note that in the latter scenario Dynamic Links may be used to send content over to an AE project, but they are never maintained. In the former scenario when it's just me sometimes I'll maintain the links, but usually I break the links as well. Dynamic Link is convenient but does not play super nicely with shared workflows, archiving projects, etc.
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‎Dec 10, 2022
11:12 AM
Hopefully it's the driver thing and then they'll just have regular phone media that doesn't run well instead of technicolor phone media that doesn't run well 🙂
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‎Dec 10, 2022
11:09 AM
When you go to use it on the new computer you should just get a prompt that allows you to disconnect the license from one or both of the other computers so that you can use it on this one. It's very easy.
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‎Dec 08, 2022
11:40 AM
Gotcha, thanks. Yeah I've never gone that many sequences deep, haha. Probaby max 2 like what you just described.
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‎Dec 08, 2022
10:02 AM
Hmm. Well, I can tell you that there is no method of saving sets of in/out points. At least not natively.
You really have two options in terms of trying to batch encode things and that would be to commence the way you have been by setting in/out points in the sequence and queueing it up, or by breaking each of these videos out into its own sequence. Theoretically if you did that you could tweak whatever things you wanted and then send them to AME in one go, but you do have to decide which of those options is more convenient for you.
At a certain point I would think that you would not have a need to set custom in/out points for everything since you'd only be making small tweaks on specific videos and re-exporting those, right? Maybe I'm not grasping the full context of what you're trying to do because it seems easy enough to make a selection, hit / to set in/out points, CTRL M, name, queue. (The naming part would potentially be a bit more automatic if they were in their own sequences since it takes the sequence name.)
Also, I'm not familiar with the nested sequence bug you mentioned. What is that?
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‎Dec 06, 2022
08:44 AM
With the video being clear now, have you tried the proxies or media aside from your source? It looks like you have phone media, which is incredibly problematic to work with.
Ann's suggestion of a preferences reset may also be a good thing to try at this point, as well as a full cache clear.
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‎Dec 06, 2022
08:32 AM
1 Upvote
Do you have your GPU active as the Renderer for Premiere? Or are you set to Software Only in File > Project Settings > General.
The GPU handles real-time scaling so if you have that disabled then there will be many things in the software that won't perform as quickly or will need to be rendered before seeing the result.
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‎Dec 05, 2022
08:05 PM
I've certainly done that before but I've never heard that term skinning, and cutting the skin. That's some evocative terminology, haha.
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‎Dec 02, 2022
08:19 AM
Are the cameras recording to HEVC? It's a pretty challenging video codec to decode and while I don't believe I've heard of hitching making it into the export from those specific cameras, I've seen it happen on a lot on HEVC from DJI cameras, so it seems possible that it could be happening elsewhere. A couple of other things to try - and this is in the spirit of helping you get this project out the door as you may have some more troubleshooting to do if something else is wrong with your system.
Just in case you didn't clear cache for all projects, be sure to do that: Clear Cache.
Try exporting to a high quality master like Quicktime ProRes 422
Your source media is an incredibly complex codec, and you're exporting to a complex codec. Exporting to something easier for the computer to process where frames are rendered individually and not temporally compressed (compression over time) is one way to help take some pressure off. It's better when the source is also easier to process, but it's still good to help here.
If the ProRes master doesn't work then the next thing I would suggest is Smart Rendering, specifically the hybrid version. It sounds a little like you were trying to use video previews so this might only be adding one step to the process that you hadn't done.
Set your video previews to something high quality that supports smart rendering like Quicktime ProRes 422
Render your timeline
When you export
Check box for Use Previews
Check box at the top for Match Sequence Settings (this has moved to the presets menu with the UI update but you said you're in an older version.)
Hopefully one of these things helps!
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Community Expert
in Download & Install Discussions
‎Dec 01, 2022
10:24 PM
1 Upvote
‎Dec 01, 2022
10:24 PM
1 Upvote
Any luck with this since several hours have passed? In case it's just a server communication kind of thing?
If it's really refusing to install you might try uninstalling and reinstalling CC. For really stubborn installation problems there is an Adobe CC Cleaner Tool: https://helpx.adobe.com/creative-cloud/kb/cc-cleaner-tool-installation-problems.html
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‎Dec 01, 2022
10:19 PM
This is the Adobe Premiere Pro forum. What software forum are you trying to post in?
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‎Dec 01, 2022
10:16 PM
3 Upvotes
You can see it with gain but not with the volume adjustment, nope. Not saying it wouldn't be nice, but it isn't a feature.
It is something you can make a request for, though. Feature requests just moved to the forums: https://community.adobe.com/t5/premiere-pro-discussions/faq-how-do-i-file-a-bug-report-or-write-a-feature-request/td-p/13362039
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‎Dec 01, 2022
03:38 PM
Perhaps another screenshot could be helpful or some added description. In your photo you have a ~12 second clip selected in your Project Panel, and that same ~12 second clip open in the Source Monitor. Presumably the 12 second clip is also the small one in the timeline on A3.
If that 12 second clip is meant to be a lot longer than that then something is up with it where Premiere didn't read it properly even on import. You could try reacuiring the clip from where you sourced it, or transcoding it with another software outside of the Adobe Ecosystem, like with Shutter Encoder. Transcode it to a WAV.
The only other audio track in your project is 5 mins 11 seconds in duration and that appears to be on track A1.
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‎Dec 01, 2022
03:34 PM
Can you provide some more information about the computer(s), what kind of media you are working with, and what is going on in the timeline with the media?
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‎Dec 01, 2022
03:32 PM
1 Upvote
You should be able to select all the images except the last one, right click > Speed / Duration. Then Increase the Duration to some amount that would fill even the largest of the gaps, and then that should have them completely fill out the empty space.
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‎Dec 01, 2022
01:48 PM
Hard to tell what you mean when you say camera here, but this is for capturing from tape. Like, you shot on an older camera that records to HDV tapes, you plug that in and play the tape on the camera while making footage out of it. This was what you used to have to do before you could just record digital media to flash drives on cameras, so this is an older part of the software and video editing in general now. As Neil said, Premiere is not a capture/recording software. It's editing software.
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