Personally, I would not expect the percentage to be resultant file size. I would expect it to be some variable measure of the resolution or image quality.   And the needed bitrate depends so much on how much fine detail and how much movement is in the image. The less of either/both, the more compression before it gets too objectionable.  ... View more

Warp is by far the heaviest effect in Premiere, quite massive in computing demand.   While color work is not as demanding, the processing for color/tonal changes is also pretty demanding.   So doing both ... is probably where the issue comes up. As perhaps an order of processing thing.   So try nesting the clip, then see if the color changes don't cause an issue. I know when applyilng directly to the clip, you do need to apply Warp, nest, then do Lumetri.   Or ... Warp, render & replace, then do all other work. Which is what I normally do, as it dramatically simplifies and speeds the final export.     ... View more

Some "upper" Apple computers have the option for Reference modes. On such machines, and if you set the computer's Reference mode option to HDTV, then you get the correct "full" image processing, which by the required specs for Rec.709, for 'flat screen displays', includes the addendum of Bt.1886.   That specifies that flat-screen digital displays are to use a diplay transform for Rec.709 video files roughly equivalent to gamma 2.4.   However, many Apple computers do not have Reference modes.   And therein lies the problem. As they are for some unknown reason using a display transform essentially similar to gamma 1.96. Which results in a much lighter image in the shadow part of the screen.   Also, I've seen some high-end testing by a colorist showing that they don't stick the hue transforms from Rec.709's sRGB color space to the native P3 of the Mac screens. So they get both the tonal transform and the hue mapping wrong. Oh joy.   You cannot display the same file with two widely varying display transforms and "see" the same image.   If you work on an image using the lighter display transform of the Apple devices, the image will look as you expect in QuickTime Player, Chrome, and Safari on that Mac.   But in VLC, Potplayer, or Firefox on that same computer, the image will be much darker, perhaps with crushed blacks, and over-saturated.   Additionally, virtually all non-Mac screens will use the darker transform.   And of course, the image file from working with the 'native' Mac transform, when shown on a correctly displayed device, will also be darker, like the VLC 'view'. ... View more

Which audio option did you choose when making the multicam?    Out of curiosity.   ... View more

Have you tried what I suggested? ... View more

As someone who's been through hours on this around the top color scientists, calibration experts, and colorists, that's incorrect.   The issue is simply an incorrect display transform for Rec.709 media in  most Apple computers, specifically, those without Reference modes set to HDTV. As the Apple screens without Reference modes do not include the required addendum of the proper display transform for non-CRT screen digital imaging.   Resolve's "fix" is just a different workaround than that which Adobe used to use, that "gamma compensation LUT", or what they offer now, setting the program monitor to the same transform that Apple uses.   With either Adobe workaround, OR the Resolve trick, you still end up with files that do not look the same on Apple computer monitors and broadcast setups or PC/Android screens.   Because you can't get the same visual result using two widely varied display transforms.   You can easily verify on an Apple setup by checking the file in both QuickTime Player and VLC or Potplayer. You will get two different images. With VLC and Potplayer typically far closer to "correct" display data. ... View more

Go to the Puget Systems website, they have a TON of good articles on various computer parts and builds for running different video post applications.   They also can advise you, and give a detailed listing of hardware bits to properly match your needs, whether you buy from them or not. ... View more

What are the color management settings in Media Encoder? ... View more

Why don't you simply change to the Productions model?   Then all of this is naturally, easily possible. ... View more

I think the issue here is you're not actually working with the massive new internal color management system. Which is in the Settings tab of Lumetri, the one you don't show in your screen grab.   I would suggest setting display color management, auto detect log, and auto tonemapping on, your sequence to Rec.709.   And see if you even need to apply an old LUT normalization process at all. Quite likely, they have a specific algorithm for your media, and it will be normalized to Rec.709 or HLG depending on your sequence working space.   I work for/with/teach pro colorists. LUTs can be useful, at times are required, but if you can replace them with an algorithm, take the algo. It doesn't have the built-in problems that always come with LUT usage, that most non-colorists never realize nor allow for.   As in, LUTs will clip or crush any data outside what the LUT was built to work with. Most 'factory' LUTs anticipate shooting in contrast-controlled situations with correct lighting for color contrast et al, and absolutely correct camera settings to match.   Much field produced media is not that. And the LUT can actually damage the image. So to use a LUT based normalization safely, you must apply the LUT in a place where you can 'trim' exposure/contrast/saturation prior to the LUT in the processing chain.   Which is not possible in Premiere if you use the Input LUT process.   So try the auto detect log and tonemapping. You can even set tonemapping to full, not quite full, or pretty weak. Or set the working space to wide gamut (which is the ACES-cct space) and your sequence to Rec.709, and the color controls of Lumetri will be applied to the data prior to the tranform to Rec.709, which many colorists prefer. ... View more

Productions is an amazing way to work in Premiere, even for a mostly one-person shop like mine.   ALL my projects are in one Production. And that is because it's so clear what I'm working on as Productions uses a folder-based process both inside Premeiere and matching physical folders on disc for 'housing' things, so the organization part is excellent.   And any assets stored in any project can be reused in any other project without duplication or other nasty things happening.   So all my sound libraries, b-roll, graphics, templated sequences or projects, everything!!!  ... is available for use in any newly created project.   I organized my Production by client type, as we do both in-house and for-client projects, and within those folders, by client, and within those folders, per job. ... View more

Please do! And ask about any questions you may have. ... View more

Ruud,    Stan has the good screengrabs. There's some things about the new Properties panel that just aren't that intuitive, like ... needing to click inside that box but not on a layer, to get other things to pop up.   We've had long discussions on that here, and I'm totally disappointed that behavior is still there. ... View more

That drone footage is some of the nastiest stuff for editing work ever made by anyone ... first. I've been sent some from a couple DJI drones, and it's long-GOP, and of course, that means that the vast majority of "frames" of that media do not actually exist on disc.   There's a frame between probably 14-65 frames apart that is actually a complete frame. And DJI uses all three types of partial frames ... ones where pixels have changed from the preceeding iframe; ones where the pixels will change before the next iframe; and ... ones where both happen.   To re-create all other frames the computer has to figure out which iframes are relevant, and from those and the charts of pixel data that changes each "frame", the computer has to recreate an entire stretch of frames ... just to playback the next frame.   OK ... that's a load. And smaller projects take far less load on the computer than larger projects, longer sequences, and of course, the more you've added transitions, Warp, color, graphics, all of that also adds to the load on the CPU and system. Premiere's project data has to be loaded into RAM and cache, and for the larger projects, always cycling things out and into cache files.   So simply being later on in the project on a big project makes the computer more work.   My guess? You've just hit a point where all the necessary project data ties up enough RAM/cache that processing the long-GOP files is just overloading everything.   Which is why most colorists still ... on getting the box of 20TB of a project, or the link to fhe file over the net these days ... go through and convert any long-GOP to probably ProRes 422 before even loading it into the computer. On monster machines that have massive attached high-speed RAID systems and far more processing power than thee or me is running.   I'm at heart a practical guy. What works just well, works. I tend to try to stick with what works. I don't care about t-coding or converting, as that is easily set to happen either on a different machine or while I'm sleeping, there's no reason that should ever slow a project down.   Nor that anyone should struggle with long-GOP stuff when you can easily get media that actually edits now without screaming at the stupid computer.   Which I've done enough times to appreciate the rage, of course. ... View more

You need to learn about color management.    Your phone is set to shoot in probably HLG, a form of HDR ... "high dynamic range" ... which means it has a wider distance from black to white, in tonal terms, then "regular" video, SDR, or Rec.709.   And also probably a larger color space than the sRGB of Rec.709 standard video.   Then, you're putting it in a Rec.709/SDR timeline color space. So it doesn't work.   Try going into the Lumetri panel Setttings tab ... the tab named Settings.   Set Display color management, auto detect log, and auto tonemapping on, make sure your sequence is Rec.709, and you will probably be fine. ... View more

Anything any of us would know would only be if it was released in the public beta. They don't make any other announcements.   And it's not in the public beta yet.   From using the version in Resolve, I still do it manually there. It  goes too far in moving hues, compared to when I do it manually. ... View more

I looked through that, and I can't see anything that would be out of what I would normally set in Premiere anyway ... what did you want to do differently?   And things like Transmit Out ... that's just a toggle on/off thing, you can even set a keyboard short in Premiere for it like I've done. ... View more

I'm not having any such issues on my desktop or laptop ... so ... to give us a chance to troubleshoot it for you, how about giving the useful details?   OS/CPU/RAM/GPU, the media involved exactly ... framerate/size in what codec, created by what ... and any effects you might be using. At a minimum. ... View more

Listed in my post, essentially. Perhaps check through the fields that show date in Bridge, to see if one still shows what Premiere does. Change that, and then re-import the file.   Or open the metadata options in the project panel, and try adding date fields until you get the one you've changed in Bridge. Then sort by that. ... View more

For mass shoots like that, everything you do starts from trying to sort out the mess, right?   So, being me, about the first thing I'd do is create search bins on usage, simply to cull out the bazillion clips not used. That's a start. And from talking with a lot of people in both long-form and episodic/reality show work, this is a common issue. Colorists at times are given boxes of drives, with 30TB of media, when the timeline only uses a few hundred clips. What a freaking mess!   Next, if you can it's freaking useful to bulk apply changes. Even if just using say the Freeform view to sort some of a camera's clips into groups to apply the same correction to them.   ANYTHING to minimize doing clip-by-clip work down a timeline is worthwhile, even in Resolve.   So that's why colorists have become so beholded to going through clips in the Media Pool, and applying individual CM and other things, grouping, and all, to get as much done in bulk as possible.   Clip to clip grading is much easier in Resolve than Premiere, but even there, takes way too much time. In Premiere, you really must do organization prep work to grade.   And I work with a full Tangent Elements panel, which to me is another must in Premiere, as that not only handles color corrections far faster, but better, than you can do with a mouse ... and ... it can be set to do any sizing/rotation/position work of any screen element, clip, graphic/text, and of course, handle audio mixing as well with those marvelous twelve twirly knobs. ... View more

Proxies are normally created as a specific color space ... quite often the working color space of the project/sequence. CM steps used on say log or RAW files therefore do not apply 'correctly' to proxy files, as they are not in log or RAW form, most often.   I've worked in both Resolve and Premiere for a decade, work for/with/teach pro colorists, and proxies can have CM "issues" there also. It's a complicated thing at times even for colorists.   The upshot ... is most colorists avoid grading proxies period. ... View more

In that workflow, I would not grade off the sequence ... but first, do they have the camera white balance/exposure locked down, or do they allow either auto or continual changes by operators?   The answers would make a big difference.   For something like the ceremony ... where the color balance/exposure should be constant for all cameras, I would simply use one clip each cam to make a new sequence ...using Q/W to select a short bit of each that is comparable/same subject ... then grade "main" view, then match others to that one.   Copy each camera's Lumetri, paste to all from that camera in the bin. Delete the grading sequence.   But then, I also do 'bulk' correction before grading any sequence of multiple cameras ... do similar to the above normally using a chip chart shot from each cam, to get contrast curve and hue v hue to fairly close similarity. Then apply those to all clips from each camera. Which knocks off about 85% of needed 'timeline' work. ... View more

Premiere uses one of the metadata fields to show 'date' ... one that is typically less altered than others. And that metadata is then stored in the project file as a reference to/for that clip. It doesn't rescan clips for updated metadata. So it wouldn't ever show changes to the file metadata made after "importing" the file into Premiere.   So ... in Bridge, is there a field that still shows that 'original' time stamp?   And also, you  can go into the metadata view in Premiere, and create your own. There are tons of metadata fields you can add to the view. ... View more

[Edited by moderator] ... View more

Most users learn to avoid the "merge clips" option as there are too many drawbacks. Multicam may not sound like it but that is the better way to join video and audio tracks.   The "make independent clip" sounds like either the current subclip or duplicate clip options already available. More specific descriptions of what you want nay help. ... View more

I'm not sure of the Mac file protocols. But Premiere doesn't move or copy files when you "import" them in Premiere, it only creates a metadata reference to the file name/metadata/location on disc.   And most cloud services are not "swift" enough to replace local disc storage. ... View more

[Removed my moderator] ... View more

What problems are you having?   And as someone who both works in and teaches both Pr and the R ... there's been improvements in editing "over there", that were badly needed. V20 is getting closer to the capabilities of Pr (And Avid) for editing, but maybe 21 will finally do it. Who knows.   And actually, the Premiere team has done some things recently, that most users seem to find quite useful for getting stuff out the door. Everyone's cup of tea? Oh, hardly, but then, there isn't a perfect NLE. ... View more

I keep bringing it up with the engineers/managers at NAB, every year ... though I will say they were actually more sympathetic to this being more than a very minor annoyance than in the past.   So ... I do still have Hope ... that greatest of all gifts ...    😉 ... View more