100% agree.  Love that Crop has been added to default motion attributes.  Also liked the option to see the crop lines on screen under the pre-2025 regime. ... View more

@MobyTrix Have you noticed whether or not things are holding when you do use AME and/or if you use any of the other flavors of ProRes?  Also...  unless it's working like it should when going to some other codec or format, this merely represents a return to the stated workflow of using previews when matching sequence, NOT the old (and desired) workflow of using previews whenever the box is checked, regardless of export format.  *sigh* ... View more

Huh.  No periods in any of the audio file names, are there?  Am thinking of invisible files in Mac OS (ie: when file names begin with a period).  Is it specific to the project at hand or happening with other projects or source media formats? ... View more

This might be a dumb question but just to rule it out: you have the OMF set to "Separate Audio" and not to "Embed Audio", right?     ... View more

My own experience of late, and that of numerous other folks on this thread, seems to be that even that works only sometimes.  I routinely export things that are rendered in ProRes, into ProRes, "matching sequence settings", etc, and sometimes it uses the previews... and sometimes not.   ... View more

Still not fixed.  *sigh*   It's been years.  It doesn't work the way Adobe says it's supposed to, much less the way it should.  this is a PROBLEM. ... View more

100% ditto here.  #FeatureRequest.  Make the rounded corners optional.  They are an inhibtion to precision and speed for many of us.  Let the folks who like them use them, and let those of us who don't keep sharper corners. ... View more

Thanks @Kevin-Monahan ! ... View more

I just want to add that I'm actually starting to use the feature and like it in certain situations, but not all the time and it is annoying that I can't map a keyboard shortcut to enable/disable it when I do/don't need it. ... View more

Hey everyone, @R Neil Haugen raises a valid point: this bug discussion has been going for months now but still only has 20 upvotes.  If we don't get more upvotes, we shouldn't be surprised if the dev team leaves it low on their priority list.  Can we all try to solicit other editors we know to come and upvote this?  I'm sure @IanB_360 has a lot on his plate, but we are clearly not clearing whatever the bar is to get more focused attention on this bug. ... View more

I really appreciate your engagement on this, Neil.  Thank you.     I must confess, you may well be right about how Premiere used to function but I started out editing in FCP 3 back in 2002, and made the shift to Premiere in 2014.  I am as sure as i can be (without digging out an old laptop and trying to boot up FCP 7) that it did use its previews, when that option was selected. But it has been a decade since I've used FCP regularly. I don't have an old 2015 or 2016 version of Premiere handy to test it now, but I believe @Scott.C. had some tests that evidenced Premiere used to do this, and I could really swear that exports from Premiere used to be much quicker when my sequence was rendered than when it wasn't, and then that at some point, that stopped being the case, and i wondered what was going on, which led me to this forum at some point.     Nonetheless... Premiere is giving us a "use previews" option, and it's not honoring that option.  Sure seems it shouldn't be there unless Premiere is going to actually use them. ... View more

@R Neil Haugen I'm not sure if you're referring to my request or @Path 88 Productions's comment.  My comment is 100% in sync w/ @Scott.C.'s.   As long as a frame can be read, it can be re-encoded into any other format.  As long as Premiere is able to read a preview file frame in ProRes (or any other codec or format), which it obviously is, it can re-encode that frame into any other supported codec.  So, I disagree with the statement "The entire frame has to be built from scratch differently between any two different codecs.", at least within the frame of reference under which I'm asking for this feature to function.   Here's the bottom line: if I'm working on a complex edit and I want to export a lo-res, compressed version of it for my internal team to review, I should NOT have to export the entire timeline into a full-res, large master file, nor should I have to wait while perfectly serviceable preview files are ignored and Premiere re-renders every frame from scratch into whatever lo-res format I have selected for output.     Again, this is how it worked in FCP 3 thru 7.  This is how it used to work in Premiere.  This is how Premiere's inclusion of a "use previews" toggle switch in the Export dialogue implies it works now.  And if Premiere can seamlessly PLAY a preview file, it can seamlessly ENCODE from that preview file.   ... View more

So, just to be clear: I am taking this as you saying that you are declining to support the funcationality we (or at very least, I know @Scott.C. & I) are requesting here.  Is that what you mean to communicate?  If that's the verdict, then such is life.  But It still doesn't explain why a "use previews" checkbox appears when output codec does not match sequence codec.   I understand if the dev team sees my position as a minority one in this conversation, and I have no choice but to accept your decision, but if you will humor me for a moment, allow me to make the case one last time for why this is a huge problem.   My sequences are always setup as either ProRes or ProRes Proxy, or whatever codec my final master delivery will be in.  That said, as I am working, I produce various versions of my edit which I need to share with my producers and team, and those are typically lo-res screeners with timecode burned in (H.264 or H.265, at half or quarter the final output resolution, highly compressed, etc).  I export these lo-res versions numerous times throughout an edit, as we discuss and iterate the creative process.  Only at the very end of the process, do I need to export a full-resolution ProRes master.  However, I don't want to work in a long-gop sequence codec such as H.264, nor at a smaller frame size (quarter, half, or whatever), so when I render complex stuff in my timeline, during the iterative process, it's getting rendered at full sequence resolution into whatever the working codec is (typcially ProRes).  When I go to export a lo-res screener for my team to review, I don't want to wait while the export system re-renders, from scratch, all of the color and fx in my timeline, just to be squashing it into a 640x360 1Mbps .mp4.  I just want that export process to use the ProRes preview files that already exist.     This is how FInal Cut Pro 7 worked.  This is how Premiere Pro used to work.  This is how the PP interface implies that it still works.     This issue is a nuisance on edits that are only a couple minutes long.  This is a major bottleneck on longer edits.  A 20 or 30 minute edit with lots of color or FX work takes a while to render, and having to re-render it every time I want to pound out a lo-res export is time-consuming.     Yes, I realize I can export "using sequence settings" and then encode into .mp4 or whatever,, but then I end up with a huge master-quality file I don't need, that consumes copious disk space, and which I then have to take that file and re-export thru either PP or AME to get the lo-res file, so it's a hassle and a bottleneck every which way.   Can you please offer some reason why you won't support this workflow?  I feel like we're screaming into the void here.  We know how it works.  We want it to work better. ... View more

Could everyone on this thread who is reporting issues please reply with their system specs, please?  What machine are you on, processor type, RAM, GPU, etc. ... View more

This in the normal procedure for full version updates.  When you install the update, there is a dialogue that should come up which asks if you want to delete old versions.  If you check it "yes", then, for example in this case, 2024 would have been deleted when 2025 was installed.  By default I leave mine off.   In the long run, it is often smart to keep old versions around in case you ever need to use one for an old project.  Adobe only permits the two most recent versions to be downloaded later, meaning that if, for example, you wanted to open up Premiere 2020 in order to digitize some old footage from tape, you wouldn't be able to install it unless you still had it installed.   So, up to you, but I generally keep old versions installed indefinitely.  You never know when they might remove some obscure old feature and down the road you suddenly need it for something. ... View more

I second the motion here.  Would like to be able to turn off the scroll-to-zoom function on the preview and program monitors. ... View more

I have been experiencing this bug for many years, over many versions.  Going back to probably 2015 or 2017?  I've been living with it but it feels like one of those little things that should be fixed by now. ... View more

In rerms of export (or proxy) formats, i pretty luch only use Quicktime (tye various ProRes flavors), H.264, and H.265.  That's not to say i dont sometimes need to deliver in other formats, but most of my work uses those three formats. ... View more

Thank you!!  Curiosity question: is there a technical reason why we can't have the option to enter any custom frame rate we want for export and sequence settings in PP / AME?  After Effects allows any frame rate at all, but I realize there might be reasons it can't work the same way in PP/AME.  In other words.... how big of an ask is it to have the ability to enter any old frame rate, as opposed to just getting, for example, 48 and 47.952 added as options in the dropdown menus? ... View more

Hi Adobe, this is still an issue in 24.5.  There is no option in either Premiere or AME to choose 48 fps or 47.952 fps (23.976 x 2).  Both of these should be added.  Better yet, it'd be nice to have the freedom to customize and enter any frame rate at all, instead of bieng restricted to the preset list of available frame rates.  This is a big problem with 48p material, especially b/c it's effectivley impossible to create proxies.  I have some 59.94 footage that needs to be conformed to 47.952.  So I made the change in the interpret footage dialogue in premiere, and it correctly shows the rate as 47.95.  But it will only create proxies at 50 fps.  I then created 47.952 proxies using Resolve, and when I attach those proxies, they still don't line up.  It appears to be playing the proxies SLOWER than 47.95, which is baffling.     Anyway...  if this is a feature request, then I'll add it there as well.  But it's a problem and 48p has been a standard for over a decade in the industry, so it's high time we have the option to work in it in Premiere. ... View more

There is a known bug in 24.3 with multicam clips in productions creating multiple instances of the underlying master clips, with recovered clips bins or even just making copies of the clips in the target project.  I've been living with it for months now.  It is fixed in 24.5.  I updated today from 24.3 to 24.5 and the issue vanished in one of my productions where it had been happening with regularity.  I realize you may not be in a position to update your system mid-project, but I wonder if 24.5 would cure these issues in your situation as well. ... View more

I just updated to 24.5.  I don't exactly mind the inversion of the colors in waveforms, but it is a bit jarring, and I would REALLY like an option in the preferences to have the colors show the way they used.  That is the light/dark tones inverted, and waveforms as black over color in the source/preview monitor.  I'm sure I can get used to it, but I don't really appreciate a visual change this radical being implemented in a dot release without an option to use the existing color scheme.     Please add an option in the app preferences to modify the inverrsion of waveforms.   I do see the value in how the audio transitions look and work now.  it was also require some adjustment, but I don't find it jarring and I appreciate the easy ability to modify the cosine of the transition curves. ... View more

If I understand your situation correctly, then I'm pretty sure that the isssue is the Media Cache and Database files for the imported file need to be deleted.  Although you removed the previously imported (and now deleted) file from Premiere, the cache/database/peak files created when it was imported were not, and when you bring the new file in, with the same name as the old, Premiere doesn't know it's a different file, and it references it using the old cache files.   You can just erase the cache (and restart Premiere) and that will probably do it, like @MyerPj said.  But I tend to prefer to just find the offending files.  I usually quit Premiere, search the Mac for the file name of the file (the database/cache files usually have the file name as part of their name) and when the database/cache files come up, delete them.  Then restart Premiere, and it should re-create new cache files for the new clip. ... View more

Thx for the thorough testing, @Stan Jones.  I'm glad to see this issue is getting some attention. ... View more

Thx for the clarification, Neil.  I think I'm gonna stick with 24.3 for a while yet.  I've just seen so many bug reports floating by in inbox related to 24.4.1, and I'm not sure I feel the need for audio fx to be any easier to get to at the moment - I didn't think they were hard to get to before.  But maybe I'll love it once I use it.  For my part, I do most of my audio FX work these days using the track mixer inserts and submixes.   ... View more

Just to be clear, are you seeing the settings you usually see in this drop-down, as far as the FX badges are concerned?  The absence of the yellow badge you're describing sounds a lot like the audio FX Badge option just might no longer be checked in the timeline wrench menu? ... View more

I keep seeing notifications about issues with 24.4.1, so I'm still on 24.3 and waiting for another dot release before even thinking about updating.  Very dissapointed to hear the duplicate frame markers don't show up with thin tracks.  2 questions for you, though:   1. Please forgive me if this sounds like a dumb question, but: There's always been an FX badge option for clips in the timeline, which can be turned off, so I'm just wondering if this is a new version that, or different thing than that which you're encountering, or if it's just that the fx badge option that was always there and which you might have had turned off, got turned on by default in the new version?   2. I've been having trouble lately in 24.3 with my duplicate frame markers not showing properly. It feels like maybe I need to delete some cache files or maybe reset my preferenes.  I haven't taken the time to troubleshoot it.  My point in bringing that up though is to ask whether what you're seeing smells like a bug (ie: sometimes showing, sometimes not, behaving inconsistently) or are you seeing dup frame markers behaving normally except when in the narrowest track setting?   Couldn't agree more about "auto-update".  I mean, for bug fixes, I can see the argument for it, but definitely not for new feature updates.   Will be intersted to hear if you can open your 24.4.1 proj in 24.3.     ... View more

Interesting.  To clarify, I'm describing how I use it for, let's say, a 24p show that has slow-motion footage shot at 60p that is meant to only ever be used slowed to 24.  When I need to make add'l changes to speed, or I have, let's say a show where I'm using high-frame-rate material both at its original speed and a slower speed, I'll leave it interpreted at the original speed and just make speed changes where I want them.     Yeah the proxy thing is really irksome.  I'm still not sure I understand why the proxy workflow can't just treat the proxy exactly the same way it treats the oiginal clips, when it comes to interpration, etc.  But I know that's another thread.  🙂 ... View more

I've not encountered this bug – in fact this is the first time I've learned you can actually apply speed changes in the bin – learn something new every day!  But generally for the conform workflow you're describing, I would propose that the superior process (and the one I use all the time) is to interpret the footage at the preferred frame rate before editing.  To do so, you select (or batch select) the 60p clips in the bin, right-click and select Modify > Interpret Footage, and change the frame rate from the file's default to 23.98 or 24 or whatever rate you need.  This avoids a lot of the quirks and skipped frames that occasionally crop up using speed changes.   ... View more