Thank you so much, this worked for me! ... View more

Ayer estuve hablando con el servicio tecnico de Adobe. La respouesta fue que es un problema de la actualización 25.1 No hay fecha estimada para arreglarlo. Ni siquiera me aseguran que con la proxima actualización se arregle. Han pasado meses desde la 25.1 Es un absoluta falta de profesionaliad por parte de adobe. ... View more

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

Unfortunately, I can only use the trial version since the purchase link for the full version seems to be offline on his site. I've tried reaching out to him via email several times, but I haven't gotten a response. Are you using the full version? ... View more

I' m also trying to figure this out. I think that amazingly this is not possible in Premiere Pro.    You have to manually lock all the tracks except the one you're working in. And if you want to trim a clip in another track, do the same... Which misses the point of the feature because it was meant to be a quick way to edit instead of manually dragging the clips' end ... View more

THANK YOU!!! Both of you are Gentlemen and Scholars! I literally bought all 3, this will save me hours upon hours of exporting individual clips. It's insane that premiere doesn't do this out of the box.  ... View more

Thank you soo much for this! It actually worked ❤️ ... 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

Hi, @Stl Rich:   Did you see the screenshot in a reply from Ann Bens back on October 26, 2024?   That shows the Roll option in the Properties panel.   This panel changes based on what is selected, so be sure to select the Text Object.         ... View more

Hey everyone. Sorry for the late reply on a really old post, but this would have helped me if I stumbled across the answer. I've found a work around after so much testing and time wasting: - Export a video out of Premiere Pro directly to the new folder you want to set as the default export location. (just do 1 second or something, so you don't waste too much time rendering) - Now everytime you send your jobs to media encoder thorugh Premiere, it will default to the folder that you exported to out of Premiere Pro. Now you don't have to keep navigating from an old project/clients' export folder to the folder you actually want to export to. Note: Everytime you start a new project for a new client, you will have to repeat this process to start exporting directly to the correct folder. ... View more

Hey everyone. Sorry for the late reply on a really old post, but this would have helped me if I stumbled across the answer. I've found a work around after so much testing and time wasting: - Export a video out of Premiere Pro directly to the new folder you want to set as the default export location. (just do 1 second or something, so you don't waste too much time rendering) - Now everytime you send your jobs to media encoder thorugh Premiere, it will default to the folder that you exported to out of Premiere Pro. Now you don't have to keep navigating from an old project/clients' export folder to the folder you actually want to export to. Note: Everytime you start a new project for a new client, you will have to repeat this process to start exporting directly to the correct folder. ... View more

March 11, 2025 I think I found a temporary solution. I have no idea how but it works for some reason   First open media encoder -> add the clip in queue -> click play. (The output file is in mp4 and it does not have audio) Create a new premiere file -> add the MTS clip (not the mp4 file you just got from media encoder) and your audio should now be synced. Then export. You must create a new premiere file for each clip with the delayed audio.  ONLY import ONE clip at a time.     ... View more

If you have multiple multi-camera source sequences on your timeline and want to view all the angles for each, you can enable Multi-Camera Mode in the Program Monitor: Click the Settings button (wrench icon) in the Program Monitor. Select Multi-Camera from the dropdown menu. Alternatively, use the shortcut Shift + 0 to toggle Multi-Camera Mode. ... View more

Currently Multi-Camera source angles crop to the resolution of the containing sequence. E.g. a 4K multi-cam placed in a 1080p timeline results in a cropped preview monitor.    Not great for 4K shoots intended for HD delivery where reframing/scaling is needed. It would be great to have the option to disable this behavior so we can view the complete frame. ... View more

@R Neil Haugen  below the actual lines, so no specific line of the layer stack is selected ... then certain things appear.   EGP shows exactly the same behavior. I do agree some drop down menus could be set in a different oreder. ... View more

I just encountered this issue, with over 100 clips queued up in Media Encoder sent from the timeline. Even software encoding doesn't seem to fix this issue. I really don't want to have to go back and do this work all over again. Am I able to open a Media Encoder queue saved in 25.1 in 25.2.xxx? Any other thoughts on how I can avoid doing all these 100+ selects over again? Canon C-log 2 footage, cinema gamut. But when I add the Canon supplied LUT as input in Media Encoder the rendered file does not look like it does when rendered direct from the timeline: it's generally darker. Thanks Mark ... View more

Having this error with ANY stock music I try adding to any Premiere Pro project: "Add to Library - Failed to fetch Stock asset license information." I've signed out of everything Adobe and signed back in, both through the CC app and the individual apps, I've "added the stock music to my library" on the Adobe Stock website, and NOTHING works. I've made sure Premiere Pro is updated, I'm at a loss for what else to do. ... 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

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

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

That's really great to hear Jarle. Thank you for the feedback.  ... View more

Hi Jonagrey,   Thanks for creating the detailed post. This issue has been reported as a bug in Premiere Pro. I'll merge your post with the original thread. Thanks, Nishu ... View more

many people are using this workflow without issues.  If you want help troubleshooting:  Never easy to troubleshoot premiere problems from a distance so please tell us your system specs: OS version, Premiere version, amount of RAM, Hardware specs including graphics card and if you have any 3rd party plugins installed for Premiere... Also, sequence settings and clip properties can also help. Although you can throw almost any format into premiere, some formats can be problematic, particularly on an underpowered system.       ... View more

The clips on the timeline cannot be moved, and I also can't drag new clips into the timeline. Even after creating a new project, I still can't drag clips into the timeline, but I can insert them. However, once inserted, they still cannot be moved. ... View more

The Automatch button in the Essential Sound panel automatically adjusts the overall gain of each clip to a specific loudness level, i.e. -23 LUFS. This is useful for balancing overall levels but does not automate the leveling of peaks. If you need to control peaks and automate levels, I recommend using the Dynamics effect: Compressor: This allows you to reduce peaks that exceed a certain level (Threshold) by a specific amount (Ratio). You can also adjust the overall level using the Makeup dial. Limiter: This ensures that the audio does not exceed a defined maximum level (Threshold). One question to consider: Why are you targeting a range of -6 to -1 dB? That is a relatively high and narrow target for dialogue, which is typically mixed at lower levels for broadcast or online content. ... View more

And here is the link to that forum Premiere Pro (Beta) - Adobe Community ... View more

I'm looking for the exact same thing. Do you happen to have a link to the free Premier Pro extension pack? I did a search for Premiere Composer on aescripts, but don't seem to be finding it. ... View more