[John Pale]

You need to flatten the multicam clips first, which makes them regular single angle clips again. Then you can media manage without including all the extra unused media.

[John Pale]

Nice. That’s lovely.
Time to fill out a bug re….I mean feature request.

[John Pale]

Yeah…as you discovered, you do have to create the folders. I meant to include a link with the excerpt I quoted.

https://mixinglight.com/color-tutorial/permanently-adding-luts-lumetri-color-2018/

The “Common” folder method is the sanctioned Adobe way to do it. The “App Package” method is a hack, and can lead to problems, like the one you encountered originally.

[John Pale]

Oliver,

You shouldn’t be putting the LUTS in the app packages individually, they should go in

Mac File Path: /Library/Application Support/Adobe/Common/LUTs

Windows File Path: \Program Files\Adobe\Common\LUTs

Inside the LUTs folder add these two folders:

Creative
Technical

This way they are available to all Programs.

(Only applies to CC2018 and newer)

[John Pale]

Looks like Source Audio offers an Adobe Panel you can install to create cue sheets for you from within Premiere.

https://www.sourceaudio.com/adobe-panel/

[John Pale]

I wrote something incorrectly in my initial response. 4096 x 2160 is of course wider (not taller) than 16:9, but the basic premise is the same. The offline cut was made with a cropped image.

[Fay Gartenberg] “Do you think this got all out of hand because my proxies were incorrectly transcoded to 16.9 when they should have been 2.39?”

Yes.

[Fay Gartenberg] “Are my avid effects useless pretty much?”
Unfortunately, that may be true. In addition to the section in question, the editor may wish to go shot by shot on the entire film and make sure the final framing is what is desired. There is a portion of the image that is available now that was not visible to the editor during the offline edit.

[John Pale]

1920 x 1080 is 16:9
4096 x 2160 is taller than 16:9. (3840 x 2160 UHD is 16:9, as an aside)
To keep from cropping off the top and bottom of the full frame, the full image has been shrunken down to fit within the 16:9 raster, much the way 4:3 footage gets pillarboxed in 16:9..just less severely., since the difference is less.
The 1920 x 1080 image appears to have been cropped.
The 4096 x 2160 hi res version contains the entire uncropped image.
You’ll need to use Frame Flex to crop the image as was done in the lower res version, if you want To preserve the same framing.

[John Pale]

Since it doesn’t seem to affect new sequences, can you just cut/paste everything into a new sequence? (or even everything into a new project). I’m guessing this is an upgraded project that’s behaving strangely.

[John Pale]

Is your intent to edit this down, or use some b-roll? Or do you want to keep this one straight rip (harder to watch, In my opinion)?
Stabilization works better on shorter segments, so if you are editing, maybe just stabilize the final product and ignore the shakiness while you edit.

[John Pale]

Question 1: How do I export an mov file wrapped in MXF using Premiere CC?

This is insane. Mov (Quicktime) and MXF are two different types of containers. Many codecs can be wrapped as both Mov or MXF.

Deliver them a beverage. Put it in a bottle and wrap that in a can.
And they still haven’t told you what they want to drink.