Agreed with MyerPJ on this.   As a long-time participant here, with some truly epic rants at times, I can guarantee they rarely block anyone, even when commenting on or suggesting to use alternate programs. I'm still here, after all!   And yes, I have been extremely critical of decisions at times. Like ... dropping SpeedGrade. Which I still complain about. But I'm at all times simply polite about things ... and even with my complaints, whines, and repeated suggestion/requests, no one has blocked me.   I know of a fair number of users that post only irregularly, when they're really, really irked about something. They've never been blocked. A few have, but they've typically been bluntly rude and totally unprofessional.    "Life's hard. It's harder when you're stupid." ... View more

So you do something in Lumetri, and it says no clip selected? That is a pain, no question.   But just to check, you do have playhead follows selection on, right? ... View more

There's an arrow at the top of the menu selection area, right side ... which tells us there are more options out to the right that you can't see at the moment.   Try clicking the arrow to see what you're missing. ... View more

There's several things could be an issue. Those cameras often allow the users to set the files to full range ... which is always wrong.   It does not get any more levels recorded in the file, it just encodes them differently. And the Rec.709 YUV (technially Y/Cb-Cr) files by the standards are to be encoded in limited/legal range, 16-235. And only 12-bit RGB files (which that camera cannot produce) are expected to be in full range.   Correct app and monitor settings always display both at 0-255.   However, if you encode Rec.709 YUV files to full in the camera, then you will have issues working with those files in post. Including difficulties getting the monitor to display the files correctly.   In Premiere,  a Rec.709 YUV file encoded to full range should have the full-to-legal Lumetri Preset dumped on the file in the project panel. Then you will be working with a correct limited range Rec.709 YUV file.   Also ... if your monitor or OS settings have been incorrectly set to use full range for Rec.709, again, you will get an improper display of a Rec.709 image. Especially, any actually correct 12 bit RGB files will have crushed blacks and clipped whites.    So the camera and monitor settings should be auto or limited for Rec.709.   Next, monitor brightness is often a problem ... as so many monitors these days are way above the specified 100 nits brightness ... but then, if they're in a normally bright room, they probably should be somewhat lighter than 100 nits. But it does make working color/tonal corrections more difficult.   The last thing I will not ... no camera made, not even the $70,000 RED and Sony 'cinema' cameras, have an accurate monitor on the camera. Period. No. None.   For accurate on-set work, one would always need to have a professionally calibrated monitor setup in a light-controlled viewing space. The monitor on your A7 does not show accurate brightness or color ... it is useful to check composition and with built-in histogram, basic exposure. That's it.   Premiere has the most highly encoded color management of anything outside of Resolve or Baselight. It will be more accurate than any video player. Period. But you can only know your images are correctly set if you have a fully calibrated monitor with puck/software and/or use a professional calibration service.   The only monitors I have ever heard actually coming outta the box correct, no matter the fancy certificate they come with!!!!!! are the grade 1 profesional monitors from Flanders Scientific, Eizo, and the high-end Sony ones. But those cost typically upwards of $7,500, often well over $10,000. ... View more

How about a screengrab of your CC Desktop app? Unusual to not have the betas available. ... View more

What are you expecting the GPU to do? I don't see in your response anything that would actually use the GPU as it's been specified to be used. Again, it is not just a general assistant for the CPU. It is a separate processing system. ... View more

The GPU is never used as simply an assistant to the CPU. The coding has to get completely different. So some things are coded for GPU if available, many aren't.   There is a list of the GPU Accelerated Effects that are run through the GPU. And some long-GOP rendering is also done *in certain cases* on specifically equipped GPUs.   So what's your media, effects in use, and CPU and GPU? ... View more

Any actual subclip created will appear in a bin. ... View more

OneDrive might be the problem there ... it is incredibly tough on getting to stop doing something ... I had to completely remove all traces of it at one point as it insisted on 1) setting up all User folders in it's own system and moving anything created outside it's own system within it and 2) refusing to allow Adobe apps write permissions.   So ... that would be something I would check. ... View more

Have you made subclips, then selected the subclips in the bin, Export? ... View more

What are you calling the "preview" window? Source monitor, Program monitor, or the image view in the Export page? ... View more

I've both imported Red clips "poorly" ... the issue you're having. And a couple times after, got them in correctly.   But I haven't done any Red imports in at least six months, and my memory is totally bonked about what I did.  ... View more

Have you tried the Import "page", selecting the overall-folder at the top of the RED folder tree?   Karl Soule has demoed that workflow. It's on his YouTube stuff. ... View more

Adobe provides the makers of such tools with perhaps the best API call set of any video post app.   The problem for you is not "Adobe", it's that Behringer doesn't provide a way for you to tap into the PrPro API toolset.   Tangent/Wave  does ... so those of us with say a Tangent Elements, Ripple (I have both) or a Wave 2, can map nearly anything in Premiere Pro to our Tangent panels.   Get Behringer to give you adequate support in Premiere Pro, it will help a lot of users get to faster workflows! ... View more

Are you selecting the folders with the clips to import, or the clips themselves? ... View more

Hey, in all my working around in the Tangent Hub I somehow seem to have missed that option ... huh. Dum, de dum dum ... me. ... View more

Good comments from Peru Bob.   Past that, your media is likely all H.264/5 long-GOP stuff, and quite possibly VFR, variable frame-rate. Between the two of them, that's almost as nasty to edit as the newest DJI drones will be.   So we'll be looking for the data from MediaInfo. ... View more

Although I think we all would wish the information given was different, at least, thanks Jarle for always giving the definitive answer!   Neil ... View more

No, it's there. In the Help and as an answer on several threads in this forum.   As I'm at home now, I can't bring up the screen to grab it. Ann and a couple staffers have posted about this a number of times. There's another recent thread with the answer in it. ... View more

I totally understand. I've argued for far better use-case documentation for years, personally. ... View more

This is one of those things that for those used to grabbing and pulling it down, then pushing it up later, it's ... a background thing, you don't really think about.   Before you get to that point, it's a puzzle or an annoyance ... or both. And after you get to that point, it is still an annoyance at times. ... View more

This is far more complex than you think it is at first. And it takes some use to start both making sense of it, and understanding when and how to use the different types of markers.   Warren's got good comments too. He's quite the experienced timeline user. ... View more

You have to think of where the data is 'stored' ... sequence markers are sequence data, not clip data. They stay in place on a sequence.   Clip markers are clip data, not sequence data. They stay with the clip.   Which is why MyerPj and Paul's comments are so necessary to understand. ... View more

I've used Premiere Pro for over a decade, never had this happen.   You lost two project files after sending a sequence from one of them to MediaEncoder? They are no longer on your drive anywhere?   Or do you mean you lost two sequences that don't show up in your Project panel anymore?   Next ... had you done any manual save operations? Or were you relying on the computer to save? As is so, that is an issue of simple self-sanity. I've used computers over thirty years, and I have painfully learned that you never ever EVER trust a computer or autosave of any program. Period.   Redundancy isn't "wise", it is an absolute necessity.  ... View more

Well, I'm going from memory at the moment. But I've seen plenty of timelines with basically very little space in audio ... I was thinking there was a hide audio tracks, but it's probably just completely minimizing them. And pulling the video track/audio track separator line down.   Richard is a major setter-upper expert around here, so I definitely default to his knowledge. The others would be @Jarle Leirpoll and @PaulMurphy  ... ... View more

If Paul's comment doesn't cover your question ... if you just want playback of the in/out marked segment ... there is a "play in to out" keyboard shortcut available. ... View more

It's in the options in the Timeline panel ... there's two menus to look through.   The Wrench Icon in the sequence header bar, and the three-bar "hamburger" menu on the tab for sequence names. A LOT of useful stuff there, and some of them can have assigned keyboard shortcuts also, if you go to the Keyboard Shorts dialog. ... View more

I'm always happy to upvote feature requests like this, no problem there!   I'm also always somewhat bemused at the attitude of so many editor types.   Why? Well, I work for/with/teach pro colorists. Based in Resolve and Baselight, mostly ... which both have extensive effects "natively" provided in the apps.   And a lot of my video post actual friends happen to be compositors and graphic artists ... you know, the AfterEffects/Nuke & etc. crowd. THOSE apps really have a ton of powerful, 'native' effects   And yet ... All of the people I know in both groups  ... colorists and Vfx/graphics types ... have extensive plugins, that they pay a TON of cash for every year.   But they use apps that already have nearly all of those spendy effects they par for in the app!   They mostly all have the full Boris and Continuum, many have everything Maxon/RedGiant puts out, and there are several more ... and they probably have multiple expensive stock/template/effects service subscriptions also.   And, they all just consisder that having all that is just part of having a fully stocked professional tool-set.   They find editors a weird group, in all ... and I do wonder about the vast difference in outlook by editors, against basically every other segment of video post processing.   And yes, I've got the full RedGiant, and a couple stock/graphics/audio services even for my small shop. Because they are useful tools.   But of course, everyone's mileage always varies ... 😉 ... View more