I assume you're on a Mac, without Reference modes, and are using QuickTime player, Chrome, or Safari ... and are hitting the huge issue of Apple not using correct display transform for Rec.709 media playback ...? ... View more

That's why I said you create several presets, named for what they do.   Even a Tangent Ripple would vastly speed your color correction work, by the way. Not expensive but useful for nearly all editing things. You can even resize/rotate/position things with them. ... View more

Oh, if you aren't familiar with Productions mode, you should be. No more single projects with EVEYTHING in one massive project file.   You have Premiere create a Production, which includes an actual folder structure on disc. You plan your organization, so you make subfolders in your Production folder (right-clicking) for say media, sequences, audio libraries, b-roll ... and within those subfolders you create projects, used largely as bins are used in stand-alone workflows.   You simply drag footage from a Media project to a sequence on a Sequence project, no dupes, it knows where those clips "live" ... and each project file stays smaller than putting them all together.   So your over work is better organized and there isn't near the problems with lagging and bloat.   EVERYONE should read their Productions docs, and especially the Long Form doc, the best operational tips and information for usably working in Premiere Adobe has produced.     Premiere Pro Productions Introduction Using Productions in Premiere Pro Adobe Long-form and Episodic Best Practices Guide  Jarle’s blog expansion of the pdf Multicam section: Premiere Pro Multicam   ... View more

As a Resolve user, not sure you'll find the options there any better in all. And for full-on editing, Resolve still has some limitations compared to PrPro and Avid. For many, it's ok though.   This is where knowing your camera and producer's media allows you to make a series of presets to drop onto entire batches of clips to speed things along. You spend a bit of time building them, but the application is wicked fast. ... View more

The root cause hasn't changed.   The long-accepted specifications for display of Rec.709 video require the use of a display transform essentially similar to gamma 2.4 ... it's actually a "power law" mathematical formula, but it's close enough to "simple" gamma 2.4 that that is what it's referred to as.   Macs ... but ONLY on Macs without Reference modes! ... apply essentially a gamma 1.96 display transform IF you use an app that allows the Mac ColorSync utility to set color management. Such as QuickTime player, Chrome and Safari browsers.   The image is much lighter, more notable in the shadows/mids, and appears desaturated. A colorist I've read did some extensive testing, and says it isn't just desaturated due to being lighter, there is a mis-match in the transform of the image sRGB spectrum into the native P3 color space of the Retina monitors. So Apple got both the luminance transform and the color transform wrong.   However ... Macs with Reference modes set to HDTV, and on 'normal' Macs when using VLC or Potplayer, or Firefox browser ... will normally use a correct Rec.709 display transform and therefore the image will be much closer to the proper display of those pixels.   The choice is essentially still the same ... a correct Rec.709 image, OR ... one that looks "fine" on the improper Mac display transform but too dark everywhere else.   As to how you work, if you want the Mac 1.96 look, set the Display Color Management on, Extended Dynamic Range (for Mac users) ... and the auto detect log, auto tonemapping, viewer gamma to 1.96, and sequence CM to Rec.709.   Your image within Premiere will look very similar outside on a Mac without Reference modes while using QuickTime player, Chrome or Safari. You may be happy with that.   However, anyone on a standard broadcast spec system, PC, most TVs, and Android devices, will see a much darker, more saturated image. ... View more

I've never had that behavior. As long as I've selected my text box, and switched to the Text tool, it always just types my text.   That would be frustrating to be sure. ... View more

So that is 6K long-GOP?   That would be a load for most rigs ... the 6k just exacerbates the entire long-GOP issues. ... View more

One of the reasons I went to the Productions model in my small shop. As with projects holding all my audio libraries, graphics, b-roll, etc ... I can simply drag/drop them into any project I'm working on.   I think your suggestion is a solid help for many of us, happy to upvote. ... View more

Showing screengrabs of your entire color management Settings tab would be helpful.   And of course, does the footage appear overexposed outside of Premiere, but what if it is re-imported into Premiere? ... View more

I pretty much sympathise with your points ... that "context aware" thing is still an odd duck for me, mentally.   And we now have to remember things like to get some text options you select the text in the Program monitor, which brings those controls "up" ... then click in the Text "header" list in the Properties panel, but while within the box there, below the actual lines, so no specific line of the layer stack is selected ... then certain things appear.   That is not intuitive behavior at freaking all!   That said, I think we will have to get them to modify the Properties panel. Sadly. It can be better ... although the continual 'jumping' of controls visible drives me nuts. ... View more

Computers can be so ... opaque ... at times. After 30+ years working in and on them, I don't know how many I've had at this point ... I know what sort of behaviors I can avoid to help avoid issues. But there are so freaking many things that can cause issues it's nice to have folks like @RjL190365 around who actually know a ton about them, how the work, and where the problems often come from.   Relinking issues typically are based on say: an external with specific mapping types that don't work well with Premiere or other video post apps; too long of a total file name, which starts with the drive letter ... the entire location is part of the filename ... so D://Video Projects/Johnson Motors/January 2024/TV adspot/media/shoot 1 ... all of that is part of the filename. And too many total characters is a common problem with "buried" file folder structures; "special characters" like punctuation things, ! or # ... and at times, non-English language letters with diacriticals on the letters, sadly; when it's a Blue Tuesday before a Blood Moon but only after the fourth month of the year ... sheesh ...   So you get total sympathy around here. Some relinking is pretty direct to sort out with the right help. Like ... change the setup used to map a network drive sort of thing. And some ... seems almost witchcraft at times. ... View more

Right-click on the sequence in the bin, "open in Source monitor". ... View more

Love the clarification there ... always.   Neil ... View more

So the Atomos UltraSync Blue works easily? Ok ... sounds interesting ... I could use me some cam syncing ...  😉 ... View more

Yea, what he's asking for would actually be quite handy at times.   You know how you adjust the audio track mixer on the fly during playback, right?   You can't do that with color though, because like the post notes, it doesn't change selected clip until you stop playback. So if you just try to say bump "exposure" up a titch as a clip goes by, what you do is bump exposure on the clip selected when you started playback, not the currently visible clip. ... View more

Michael, so ... were the previous files say 44.1khz, and the new 48k? Is that the 'solution'?   I read your posts, just had no clue what the issue would be. ... View more

I don't see a single post from you on the forum ... how about giving us the details needed to suss out your troubles?   As while some are definitely having problem, the vast majority of us are editing away without issue. No crashes, no lag ... and sometimes we users can actually get people past the things that trouble their workflows.   Worth a shot, probably. ... View more

What is your media in use, full details ... framesize/rate, bit depth, codec, created by ... what?   What specific hardware does your computer have, as this is crucial data in solving this issue. CPU and GPU esepcially.   Do you have only one drive, or multple drives available? ... View more

I think you posted about this, the answer will appear in your other thread. ... View more

Yes. And @Jarle Leirpoll and @PaulMurphy are both better at explaining this than I am.   ... View more

Are you familiar with setting say the Dynamic processing effect or some of the others, where you have gates, compression, and limiters built in?   Most audio workers have a set 'stack' of two-three of the major audio effects that they apply to everything. Then go through the sequence and trim-in as needed.   @PaulMurphy has pretty amazing skills there. ... View more

I work for/with/teach pro colorists. Looking at your post, I have immediate ... questions.   LUTs are not math ... they're simple look-up tables ... charts ... which apps use to manually drag this RGB triplicate to that. There are a few given ... (the number of points) ... and in between those, the app simply does typically a straight-line mod.   LUTs are fixed value tools. So if your image is exposed either lower or higher than the LUT was built for, you will get crushed shadows or clipped highlights. So great care is required.   Which is why colorists basically never apply a LUT of any type without being able to trim the clip into the LUT to keep from getting crushed, clipped, or over-saturated values.   In Premiere there are a couple ways to do this safely.  The easiest is using the Creative tab slot to apply the LUT, then doing the image trimming in the Basic tab.    The other is by stacking multiple Lumetri ... the second instance with the LUT applied in the Basic tab Input slot, and using the first instance of Lumetri to trim the image.   Auto-color and Auto-match in Lumetri   There are two automated tools for color ... I'm faster manually than using these, but many less-skilled workers love them.   Auto-color in the Basic tab (if I recall correctly!) ... click that, and it tries to make the image as "normal" as possible. Sometimes, it does a nice job.   Auto-Match Color  in the Color Wheels tab of Lumetri. Set the first clip color as you wish it to look; Set Lumetri into Comparison mode; move to the next clip, select a good frame, and click auto-match.   This can, when selecting a pretty close apples to apples pair of images, do a pretty decent job. ... View more

One of the joys for me in going to NAB every year, is simply visiting in the aisle of the tradeshow with so many other video post people.    Why?   Everybody does everything differently!   Seriously ... I've never been in any discussion at an NAB since 2014, where two people worked alike for the same type of job. ... View more

I'm not sure what you're thinking there ... Premiere doesn't export 'to' anything, actually. Just the expected, nearly universal standard for Rec.709 video images.   The way it works, you set the display and do the corrections, and the file is exported to standard Rec.709 specs. Which is what most hardware expects.   "The Web is 2.2" ... is only true for still images. Most players of video such as VLC, PotPlayer, and Firefox, will use 2.4 for Rec.709 video ... on any monitor.    Now ... there's an issue most get wrong, and that is that you should always grade Rec.709 with a gamma 2.4 display setting ... WRONG!!!I   The specs clearly state that colorists working in the recommended near-dark room ambient lighting environment should use gamma 2.4 for the display transform. True.   But anyone working doing color corrections in a normally lit ambient room environment is SUPPOSED to use a display transform of gamma 2.2.   Because in testing, the crucial factor is the ambient light as one is working. Why the darker room recommendation?   Because one sees image color saturation better with the darker room lighting. That's it.   Gamma 2.4 display transform is the generally recognized standard, as set decades ago in the specs, by nearly everything except Macs without Reference Modes. Even Macs with Reference mode, set to HDTV, use gamma 2.4 for the display transform for Rec.709 video.   Yes, in Resolve, you can use the "Rec.709-A" tag ... and "A" is as stated, for Apple ... which puts a non-standard NCLC tag in the file header that most Macs will then for some unknown reason see and set the display transform to gamma 2.4.   But that is not specified for that use, most non-Mac gear doesn't "see" that tag and do anything with it, and non-Mac gear that does respond to that tag can do weird stuff. It's not a great solution either.   The biggest thing that using the gamma 2.2 "web" display setting will accomplish, is when grading in a normally lit room, you will probably set a closer luma (brightness) view of the image, while working, to have it relatively be closer to that set by someone working in a darkened (but not quite black!) room at gamma 2.4. ... View more

Their Warp engine is a new thing ... go to the TangentWaveUK website and it's there to be downloaded and used as part of the Hub control.   They have samples of using it to get some types of  controls that you otherwise can't map for Tangent to use ... especially for Resolve, where BlackMagic will not ever allow any 3rd party kit an API for actually fully mapping hardware to Resolve. But then, their entire profit is based on selling hardware, why would they allow that much entry into their loss-leader product?   Understandable if frustrating for us Tangent user that also  work in Resolve. So the panel is vastly more usable on the Color page in Resolve, with Warp mappings, than it was.   Adobe on the other hand give out the full API to hardware makers. So the Tangent stuff can map to most controls natively. Awesome!   However, the panels aren't built to do macros ... so I've got an old Orbweaver gamers button box here for that. Which ... may become ex-used.   Because using the Warp engine, you can map combined mouse movements and keyboard short commands ... entire series of them! ... so that means that actually creating macros for a Tangent panel in Premiere is now a real easy thing to do. ... View more

What camera? Are those the older cDNG, ProRes, or BRAW?   What is your GPU, and if Nvidia, which driver are you using? ... View more

When it's shipped. That's all the notice we have ever gotten. ... View more

They changed the way you do this, but it is still quite possible of course.   First, nearly everything you did before in the EGP is now in the newly revamped Properties panel. Which is confusing at first as it is now "context aware" ... meaning what controls are visible in the Properties panel entirely depends on what specifically selected in the Program monitor.   So the mogrt controls are 'there' in the Properties panel when you have selected something from it in the Program monitor.   And image replacement is at times now done by drag/drop from the bin. Yea, that's changed too. ... View more

Ann is correct. Your phone images are undoubtedly HLG, a form of HDR, and you exported probably to an SDR Rec.709 export without properly managing the image from HLG to Rec.709.   Read the link Ann provided. It's doable if you know how and take control. ... View more