You seem to have a mixed selection of media color spaces,  apparenly a Rec.709/SDR sequence, and ... you haven't set your color management up in Premiere to handle this. Easy to fix.   First, go to the Lumetri panel's SETTINGS tab, the tab NAMED Settings.   That's where all the CM options in Premiere now "live".   Set auto detect log, display color management, auto tonemapping all to on. Sequence to Rec.709. They have I think one option in there called "Direct 709" which may help you at this time.   If the graphics appear over-bright, go to the sequence, click on the graphic to select it, and go to the Settings tab and set the color space of the clip to say HLG or any log option. Premiere will now tonemap that graphic correctly.   Any other questions, ask away! ... View more

There is absolutely no possibility of exporting full color adjustments in one app that are "understood" in another.   You mentioned MixingLight, abd I'm a contributing author there. Have been, and worked with colorists for years.   Take Baselight and Resolve, two fully featured grading apps, right?   You  can't do this between them. The tools are built so different there's no mathematical way to make one's settings somehow match another.   The only thing is the CDL, color decision list. Which is a very basic thing, essentially an overall exposure and per-channel R G B gain change.   Turnovers for color have always been a bit of a pain. "Picture lock" used to be A Thing, before sending to color. But not so much anymore.  ... View more

And it's puzzling to me.   But I don't know how i can be clearer.    I have never said one word against getting deaf people involved, surveyed, whatever. Period. How you read that in is simply beyond me. And I am saddened you keep repeating that. It isn't true in any sense.   Of course deaf people should be considered! But I said that I thought rather clearly in my first post.   I have simply stated that there are also other valid real people who need transcription in the media.   Though I do thoroughly disagree "we" all know enough of any other language to get by. I know a number of other friends watching Astrid, to continue that example.   One friend spends weeks a year in Paris, and is fairly fluent in conversational French, reads and speaks it pretty well,  along with German  Norwegian, Italian, Spanish, and one dialect of Chinese.   He can't make out one word in ten of the French spoken as-is in Astrid, he says. So even for him, transcripts are required to have any idea what is going on.   How you nake the assumption that I should be able to understand enough of the audio in Astrid to gave any clue is utterly beyond me.   Please , do keep participating here! We need as many people of the user base commenting as possible, on all sorts of things.   But I ask you to understand every one of us is different, does and sees everything differently from everyone else. Which naturally means that even those who agree with you in the main will have other thoughts and ideas.   I prefer the aisle conversations at NAB, with five people every one of which thinjs differently from the others. It is a fascinating way to learn. ... View more

Actually, check out AfterEffects for something like that, I would think. ... View more

@PaulMurphy  is the best resident expert on audio setup and exports. ... View more

I would recommend using the Productions mode for that. Which would make it vastly easier to both work in and add to over time.   Productions has an overall Productions folder (including on disc) that Premiere creates. And a Production file. Inside that folder in the Production, you create subfolders for sections of the project ... maybe Media Storage, Working Sequences, Finishing, whatever fits.   Then inside those folders you create projects ... in the Media storage, you may make one project, or ... you might make subfolders based on the time/segement of the project. Such as Month 1 or whatever. And in those folders you make projects to store the appropriate media.   In the Working Sequences subfolder, you create projects for your sequences ... simply drag/drop media to them from the Media folder/projects. It doesn't create any duplicate media ... just tracks the media from the media projects to the sequence projects.   But the whole thing is easy to organize, stays clean, works faster than the old single project file with everything in it, and doesn't ever bog down.   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

Yea, that would be very annoying, no question. But those of us users who pop in here do to help people, and that takes information.   As there are several million daily users, most of whom ... including moi ... are not having such crashing issues, the most likely probability is something on your machine. So ... again, data is needed.   OS/CPU/RAM/GPU/GPU driver version number; number of drives used and how connected to the computer; media in use, how stored/accessed (local/NAS/external drive).   That should get us started to help you get working better. ... View more

I'm not sure I understand your question ... you're getting ready to grade, right? It won't still be log after you grade so ... ?   If you mean, to have all the data available for the grade, you are correctly using their spiffy color management to get that S-log transformed to sequence space, you should keep all the pixel information. Just not in log, of course.   So with auto detect log, auto tonemapping, and (personal choice here) setting the sequence working space to wide gamut (ACES-cct) ... then doing a render and replace to say ProRes 422 ... any 10-bit data should be quite safely transformed. And available for grading.   I haven't tried this next bit, but you might for the information gained. Maybe for the moment turning off CM for the clip, then do render & replace, might do a log-style replacement. That would be the "preserve RGB" option. ... View more

Warp is by far the heaviest computational effect in Premiere. Seriously so. It's two parts, the first the analysis pass, the second pass completely creates replacement frames for every frame of the clip..   So it can a times have glitches. And you do as Ann wisely says. Remove the clip, replace, and do another Warp effect on it.   Takes a few seconds, and you are working away.   I also, always apply Warp, analyze, then do a full render & replace of the clip with Warp now "baked in" ... so it is no longer an effect to be applied. Makes everything past that including all other effects I apply to the clip or timeline much smoother. Exports faster, all that. ... View more

Wow, that would be annoying.   I've got the full CC subscription, use a number of the apps on my PC, and haven't had this ... ever. So I'm wondering where to start.   Such as ... did you try holding down shift on launch, and selecting to delete all cache files? Or reset prefs? ... View more

You still seem to misunderstand. I have never said nor implied the deaf were not important. Not whatsoever.   But at the same time, they are not the only audience for captions.   For instance, like many, we are watching the French TV show Astrid. And as none of my family speak French what so ever, though I've had to sing it in vocal competitions in the past ... we totally rely on the captions to know what's going on.   So, yes, the deaf are important, as are all other users.   And in college, I was heavily around those working on ASL, by the by. Been around this many years. That was what ... 50 years ago now? ... View more

The bin is the folder on the Project panel.   If you are simply doing color and tonal corrections on the AL, that should be ok.   Warp is by far the heaviest resource hog in the app. Having that an multiple Lumetri can be difficult. So when using Warp, I always analyze until I am fine with the effect, then do a render and replace operation to replace the clip with a new one, fully cleaned up.   Tge timeline plays smoother, and exports go much faster. ... View more

"We" would need a lot more information from you to have a clue what is going wrong.   First, for any troubleshooting, one always needs the data. OS/CPU/RAM/GPU, the media in use, and any other effects or third-party effects in use.   Next ... what "auto-color" are you talking about? Very specifically, in Premiere  ... Basic tab, Color Wheels and Match tab, something else?   Give that information, and 'we' other users might be able to spot a fixable issue. ... View more

Most people don't realize how bizarre image color ... film or digital capture... is.   NO camera or device ever actually "sees" color. All they do, both film and digital sensor, is record brightness. In film, three layers of light-sensitive stuff were involved, each with a dye-based 'filter' to let mostly light of one color strike it ... but wait, it has to go through the top two layers to get to the bottom one, right? Yep ... it was a complicated workaround ... to then get reversed in printing to create a "color" print.   Digital capture uses an electronic sensor of tiny capture devices ... "pixels" ... and most commonly, a layer of filters places over them in a pattern of red/green/blue, twice as many green squares as red or blue.   And some high-end math work then calculates what 'color' that pixel is seeing, at what brightness level. By looking at several other pixels around it, and comparing captured light levels.   Then ... it is impossible to make the response of all pixels on any one sensor identical in response. They're pretty close most of the time, but how close is "close" varies a lot. They're tested after making, and the more close they are, the higher price they sell to the camera makers.   The electronic parts that do all the computational work are not going to be identical either, and so even though two cameras can technically use the same sensor, the resultant images will not be the same.   Monitors are the same thing, essentially... just reversed. No two monitor screens are identical off the manufacturing line, and especially after the eventual monitor maker adds their own hardware to the screen itself, then add in OS settings and such.   So there isn't any such thing a the only totally accurate color. We users have to first do our own work at setting our gear close to "the standards" ... and then accept that no one else will ever see exactly what we saw. It is impossible ... via any deliverable process ... to do so.   You set as close to the standard as possible to get your outputs as close to the visual middle of professionally produced media on any screen. That's all a high-end colorist can do, and we cannot exceed that if they can't.   Yea,  color is not what people think. ... View more

1) No, if you have your settings correct, Premiere will perform a pretty slick algorithmic transform to Rec.709 for most log/HDR media. That's what auto detect log and auto tonemapping do, when both are active, and the sequence is set to Rec.709. The beauty of the new system is that once set for what you need, it both defaults to good choices and still allows user mods for specific things.   2) Many experienced people in video production do recommend turning off the HDR/HLG settings on most phones. Realistically, most screens out there still don't show HDR at all or if they do, it's only one or two of the competing/alternate forms ... and they even don't do that one they do well.   HDR is sadly still very much Wild Wild West. And as someone who works for/with/teaches pro colorists, this is frustrating. Yup.   Rec. 709/SDR still works quite well. ... View more

That last was not clear in your post, however. You only mentioned one user-group. "We" can't read minds on forums, which is why clarity of comments are so important.   In general, I also prefer wide-based checking on things. As for instance, UI design. There are several different major 'schools' of UI design, which vary dramatically on some thing. So one "expert" group insists that X is how the general user thinks/sees/works/whatever, but another also notable expert group/org insists that Z is the correct "human" response.   There's been some intriguing discussions here on that ... where someone thinks one UI design org/whatever is "the" only real expert on UI design. And other cite 2-3 other as-notable UI design orgs.   At some point, well, how about asking people, right?   😉 ... View more

It would work the same on the AL as on the clips, but the order of processing changes.   Order of processing goes top-down on a clip, from the CM settings through effects applied on the clip, as shown in the Effects Control Panel.   After all processing of effects to the clip posted directly on the clip, processing order moves to the next video track up if applicable.   So if you have an AL above a clip, the clip-based effects are processed, then anything applied to the AL ... in the order they appear in the Effects Control Panel for that AL.   Depending on what you do, processing order can matter a lot..   While I used to use ALs a lot, they can be messy and I tend to avoid them when possible now. It's easy enough to drag/drop onto selected clips or copy/paste attributes to a bunch of clips.   Or drag/drop a Lumetri effect to selected clips in a bin ... which applies it as a 'source' effect, prior to sequence applied effects. VERY useful for a lot of color work! ... View more

Oh, yes, Scott! ... View more

They show in the documentation for Productions mode how to find the duplicate ID projects. It's actually not at all difficult. I've had to do it a few times and have to look it up every one.   Have you read their excellent set of papers on long-form/episodic workflows and Productions? If not, highly recommended. Best documentation Adobe's ever put out. Primarily because Jarle Leirpoll was the main author, I think ...   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

What is your OS and hardware, and what camera settings were used to make the file? So which form of DJI media is it? ... View more

With the rest of the color management settings, which are now all on the Color Workspace, Lumetri Panel's Settings tab. The tab named settings.   Auto detect log is  project group setting I think, up near the top. Tonemapping is a sequence group setting. ... View more

None of these companies ever gives a date for a roll-out. Ever. ... View more

I don't think it's called "nudge" in the keyboard shorts dialog ... try "move" instead. ... View more

Most of us totally sympathize, as peer users. A lot of us "lost" effects we used, if different than your preferences.  But then, we all do work differntly anyway.   As a survivor as a business owner of many years, I had to make a lot of decisions I did not like making. But were required to keep the business moving forward, if not to keep it solvent.   So I learned to understand such decisions. And their necessity. Even when I don't like them.   (I'm still ticked about SpeedGrade being EOL'd ... personally ... ha!) ... View more

It showed up right before which update? ... View more

What is the original media?   What proxy preset are you using?   How full are your drives?   Past that,  a six year old CPU is getting long in the tooth. Every major version of Premiere does assume newer, more capable hardware than the previous version. Which is totally to be expected in any software really.   And your CPU has no long-GOP capability, I'm not sure if that GPU does, and that might be an issue.    Of course have you cleared all cache files on launch?  ... View more

You need to zoom in a lot in the Program monitor, so you can get finer control of moving the points. Use the control to navigate forward or back from any keyframe to the next one, then adjust the mask as needed. It can be picky work.   You can probably do this in Premiere, with enough time, but Ann's correct that full rotoscoping is far faster and easier in Ae. ... View more

Ann is right, it's all in proper user handling of the color management. Which is more complicated because we don't work in only one standard color capture setup anymore.   Your iPhone by default uses a form of HLG, hybrid log gamma, which is a form of "HDR", high dynamic range video capture and display.   That uses both different color primaries and has a greater range of brightness values than the older 'standard' SDR did.   So you need to pick whether you want to output from Premiere in HDR, probably HLG, or in SDR, the standard Rec.709. And then set Premiere's color management to map tonal (luminance) and color (chrominance) values to whichever you want to use.   That's what that information she gives, and "we", can help with.   Pick something, and ask. I and others can give specific help then. ... View more

I thoroughly understand the sentiments. I've been going to NAB since 2014, and heavily involved with colorists, ergo, involved with Resolve. And Resolve users. I work in both Pr and Resolve daily, have for years. Teach using both. And I far prefer Premiere to Resolve, though many friends go the other way.   Because some people like the UI and general design of any piece of software. Some don't.   For specific example, a good friend (major colorist but does some editing and a ton of "finishing" work these days) LOVES Resolve, thinks it's the most intuitive UI ever possible. He loves the layout, loves the lock-down preventing pretty much any user change of the layout, and is simply in Heaven in Resolve.   I've worked in Resolve for a decade. I still struggle to remember where in the world they've hidden a ton of the menus found in different places on each Page. I hate the general layout, would never ever design that for myself to work in, and am always frustrated at the workarounds I have to do to make sense of the app.   And yes, I've been through much of the 4,000 page manual, and hours of their training materials. So we look at each other, smile, and shake our heads.   But then, there are people for whom Nuke is totally organically intuitive. Ever looked at Nuke?  😉   For me, Premiere is far easier to setup to get productive work out of it. I'll stay in it not just for editing, but because I can quickly push color to places most people don't realize you can go in Premiere.   So it's very much a different setup, where each one is more suited for specific users. Like ... Avid. Some love it, many don't.   Use what works for you, we are all different. And enjoy that we have these different options! ... View more