Re: Adobe Las Vegas Video Community Summit — April...

John V Knowles · Apr 01, 2025

I gotta party hop too. Everyone has something on Sunday night it seems.

John V Knowles · Apr 01, 2025

Are you dynamic linking the AE comps or are you rendering MOVs with alpha from Ae thenn importing those into Premiere?

John V Knowles · Apr 01, 2025

I think you're looking for an Image Sequence. Go to this link and scroll down until you see the section "Import images as an image sequence" https://helpx.adobe.com/premiere-pro/using/importing-still-images.html

John V Knowles · Apr 01, 2025

Hi there, There's been some major changes to the way captions have been handled since 2018, so it may be that the older captions track won't translate to the new version. You say though that it's "been through all the upgrades of PP" so does that mean the project has been updated to newer versions? If so what's the last version it was opened in before today, and was today when you updated your Premiere version? Please give as many details as possible. JVK

John V Knowles · ‎Mar 17, 2025

Not sure I've ever seen this function before. Did this used to work and now it doesn't?

John V Knowles · ‎Mar 17, 2025

Agreed!

John V Knowles · ‎Mar 14, 2025

Right? I feel like I'm going to need a full debrief on how all the Color settings work together.

John V Knowles · ‎Mar 14, 2025

This has been a long-standing issue. Whenever I activate an Adobe font it does not appear in Premiere Pro right away. I have to click the option in the CC app to "Install Family" -- which is supposed to be just for non-Adobe apps yet it's the only way to get the font to appear without restarting Premiere. Activating an Adobe font should be instant. #premierepro #fonts #adobefonts

John V Knowles · ‎Mar 13, 2025

I just created a ton of proxies for a doc project and they looked as flat as the raw media. So it's totally possible as long as you turn all the color management options off. Is there a LUT on the source footage or is a color space being applied?

John V Knowles · ‎Mar 12, 2025

Pretty sure the client's team made the MOGRTs from After Effects themselves. I can ask about the font but it's still odd that it didn't auto activate despite the apparent match to the version on Adobe Fonts.

John V Knowles · ‎Mar 12, 2025

Yeah I thought of that one too. Hard to tell though if it's just an audio track issue or if it's the whole UI.

John V Knowles · ‎Mar 11, 2025

Instead of changing the color space on the clip, turn off settings for the entire project. In the Lumetri panel, go to settings and turn off the Auto Detect Log Video Color Space and if you have HDR footage then turn off the Auto Tone Map function as well. That will ensure you only see the flat look througout. Any proxies made at that point should also be flat.

John V Knowles · ‎Mar 11, 2025

Hello, Is it possible that you have created a sequence with specifc tarck types? For instance: if you craete a new MONO track then you cannot drag a STEREO clip into that track, only mono clips. I can't tell if that's the case from your screenshot, I would have to see the entire display.

John V Knowles · ‎Mar 11, 2025

Working with a client's MOGRT for the first time and it gives me the font missing badge (yellow capital T in a square with a warning triangle). Dealing with them has reminded me of some inconsistencies with the way I thought I Premiere was supposed to handle missing fonts as well as activation. One of the missing fonts (Interstate) is available on Adobe Fonts. I thought it was supposed to check for that and instantly activate any matching Adobe fonts? It's possible that they used a non-Adobe version here but then how is it searching for a match? Is it not just by name? Because once I added Interstate in Adobe Fonts the warning on the template went away so clearly it was a match, yet it didn't automatically find it on it's own. The other issue (which has been long-standing) is that activating a font or font family in Adobe fonts does NOT add it to Premiere Pro right away. You have to do one of two things: restart the program or click on the "install for non-Adobe apps" button in Creative Cloud to fully load it on your system. That seems entirely counter-intuitive; shouldn't it be active right away even it it's just available to Adobe apps? v25.1, MacOS 15.3.1, Mac Studio M1 Ultra 64GB

John V Knowles · ‎Mar 07, 2025

Exact same issue here, just updated today. 25.3 Build 10. Reverted back to 25.2.0 Build 127 and it's working okay. M1 Ultra Mac Studio, 64GB, Sequoia 15.3

John V Knowles · ‎Feb 13, 2025

Hi there, Just tested it on my system with a lower third template I made today; it appears in the Library I chose and is shown in both After Effects and Premiere (both 25.1). Did you try searching for the name of the template in the Library search pane? Try adding some tags at the bottom too when you save the MOGRT from Ae (words like l3d, lower, third, color, etc. separated by commas) and then search those tags. Make sure you don't use any illegal characters in the name of the template either (avoid punctuation for example). Also open your Creative Cloud app and go to the Files tab then Your Libraries and open the Library in question; see if the template is there. Libraries sync to the Cloud so if something isn't showing up then it may be a network issue. JVK

John V Knowles · ‎Feb 04, 2025

You're very welcome! Happy editing.

John V Knowles · ‎Feb 03, 2025

How many of the six audio channels do you actually need to cut with? You could right-click on your clips in the bin and select Modify>Audio Channels and uncheck the ones you don't need before you cut them into a sequence. I suspect though that your CPU just isn't handling that compressed footage well. It's 6 years old and it lacks QuickSync for proper H.264 acceleration. If you look at the benchmarks from this Puget Systems article you can see it falls below the performance of Intel i7s and i9s from the same year: https://www.pugetsystems.com/labs/articles/premiere-pro-cpu-roundup-amd-ryzen-3rd-gen-amd-threadripper-2-intel-9th-gen-intel-x-series-1535/?srsltid=AfmBOoqaTnPuPjgF_KHJvpZl3-j7HqL18gUf2wcVpzvjCGGzNvdSxMsM Transcoding to ProRes LT would be the best move here, but you said the files are 5-6 hours long which will take a long time to transcode (and take up more space). Can you handle that type of workflow? Are you able to record these videos in a different codec?

John V Knowles · ‎Feb 03, 2025

Can you make a screen recording so we can see what's happening?

John V Knowles · ‎Feb 03, 2025

List your computers specs please. "New" doesn't tell us anything 🙂

John V Knowles · ‎Feb 03, 2025

Uniform Scale is the default in the Motion tab for any new clip added to a timeline. Anything in the Motion tab won't be saved to a template, only elements that are part of the Essential Graphic itself.

John V Knowles · ‎Feb 03, 2025

What version of Premiere? Adobe jsut improved H.264 playback on Mac and Windows. I'm afraid the issue is that compressed footage like H.264 isn't great to edit with, and this is compounded by the lack of QuickSync on the Ryzen processors. So your PC is struggling to decode it and play it back. What drive is the footage on? If it's not on an SSD separate from the main boot drive that could also be affecting playback.

John V Knowles · ‎Feb 03, 2025

Afraid I can't help with the QuickSync, not a PC person so hopefully someone else will chime in. I do think that your source footage is the pain point though. When you have compressed VFR footage like that, the solution is not to use proxies -- it's to transcode to a CFR ProRes file and use THAT as the new master. Proxies are meant for cutting low res before returning to the raw masters clips for finishing; for that type of phone footage there's zero benefit to returning to the raw media. Transcode to ProRes LT or 422 and edit with those instead.

John V Knowles · ‎Feb 03, 2025

I'm not 100% sure what's going on here but DJI seems to use a unique H.265 encode sometimes and it doesn't always play nice with Premiere. And Media Encoder uses the same engine so if it doesn't work in one it won't work in the other. I would use Shutter Encoder to transcode all of your clips to a better editing codec like ProRes 422. It's a great Swiss Army Knife of converters and you can do them in a batch like Media Encoder. And ProRes is much easier to work with than H.265/HEVC footage.

John V Knowles · ‎Jan 31, 2025

You mentioned a server in an earlier reply; is that where the files are saved? Could something have happened on that side where it reverted to an earlier copy of the file? Servers often have snapshots you can refer back to. And just to confirm: you've opened the main Project file already? Because your screenshot is definitely showing at auto-save.

John V Knowles · ‎Jan 31, 2025

I would split those clips up. No need for 1,000 Projects; I think 10 or so would be sufficient.

John V Knowles · ‎Jan 31, 2025

Are you 100% certain you opened the same project that you edited? Have you searched your entire computer (or wherever your projects are stored) for additional copies of the Project file -- and not just the list when Premiere opens? Again, Premiere does not delete sequences or media on it's own and I cannot think of an instance where this might happen -- but I have seen users inadvertently work in the wrong Project file and save their work there.

John V Knowles · ‎Jan 30, 2025

You're very welcome! JVK

John V Knowles · ‎Jan 30, 2025

It is absolutely vital in a Production to spread your media out over multiple projects. The entire point of a Production is to keep individual Project sizes small, and you do that by not overfilling them with too much media or too many sequences. That's what leads to Project bloat, long loading times and possible corruption -- all the issues with large individual Project files that are meant to be alleviated by a Production workflow. So split up your footage and assets into a logical hierarchy and avoid one massive media pool project. --

John V Knowles · ‎Jan 30, 2025

Does dumping the Media Cache help?

John V Knowles

John V Knowles

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