just a heads up. Make your existing machine has at least one fifth free space on the startup drive and adding an external ssd and try setting that as your scratch disk in photoshop. Unless you’re scanning your images at a very high resolution, these 2 things might improve your performance sufficient to your needs.

just a heads up. Although SSD’s are great they will not last forever… They have a limited number of read/writes and you should always make sure you have your camera original backed up at least a couple of times…

I’d suggest you post your question on the Adobe Premiere forum. Although there’s no guarantee, you may see some replies from the Premiere team. When I tried to include a link to the forum, creative cow flagged it as spam…

set your preview format to something with adequate quality for review and then use the previews for your export, an option in the export dialog under “general.” This way with just a few changes, you can quickly re-render and export very quickly.

This might help…

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I’ve had some great results with the Neat plug-in but sometimes you need to dig deep into the interface to get the best results. You might see if there’s someone here who’d be willing to do a short clip and then find out what would be involved in having them actually work with the footage…

Had a similar situation where I was promised a full run…

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sorry Neil, don’t have the time to dig in to this right now. but I’m not really interested in my clients tagging comments to an online video… Just looking for a way to post videos with high quality/dependable playback for client review without any additional expense. For the most part I output with a timecode burn in and let me clients make…

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Thanks for posing the question and to those who’ve answered.

I’ve had serious issues with vimeo over the years… When they started sending me warnings that my payment had been declined and I should pay manually 2 months running and then discovered that I’d paid twice, I cancelled after needing to insist on a refund rather than an extension of…

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gotta say that manually synching although not a lot of fun is doable and will not take as much time as you anticipate. Might be worthwhile hiring someone with this kind of experience to see what’s involved… I’m in NYC if your director is in NYC, I might be able to meet with him to show him what’s involved. Although if Mads can help you, go…

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working on a very large doc project. The client has had unfortunate experiences with a OWC raid… and I’ve found OWC support lacking in the past… And had a nightmare situation with G-Tech 15 years ago which I will never forget… I asked multiple contacts in the doc community and there was a consensus recommending a hardware raid……

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are you using any compressed audio in your sequence like mp3s or h264? If so, try transcoding to an uncompressed format like aiff or wav with a minimum spec of 48k 16 bit and make sure all audio specs match. although most modern nle’s usually can deal with compressed and mismatched sample rates and bit depths, they can intermittently cause…

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or just edit natively in DV which should work fine in Premiere. You can get a firewire to thunderbolt adapter and a thunderbolt to thunderbolt 3 adapter from apple. I got this to work about a year ago going in to a 2017 macbook pro capturing both hdv and dv natively . Post back if you want the specific adapters. It may be possible to use…

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all depends how crazy you want to get trying to figure out what’s going on. Here are a few ideas that might or might not be worth trying. You might want to try creating a new windows user with administrative privileges, and see if that makes any difference as it could be something screwy caused by the way another app is setup… A clean install…

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often, the limitations of recording from a laptop are the result of recording via zoom. Although I haven’t used it, someone did share a link with me for an app that allows you to record locally while your zooming. https://iris.fm/ Might be worth a test. This would allow you to “direct” remotely….

I saw something similar recently with mxf files shot on a sony camera. The solution was to select the problematic clips in the bin, control click on the clips and choose: modify: interpret footage and choose color management: and choose color space override and choose rec709 (assuming it’s something different from rec709. There’s a…

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Recently set up a client with a 13″ m1 macbookpro and it only has 2 thunderbolt ports and will only support 1 external display. Not sure if this is true for the 14″ model you’ll be purchasing…I worked around this by getting an owc thunderbolt 3 dock which can provide power to the MBP and I connected an external monitor using the minidisplay…

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thanks. couldn’t find this in the documentation or by asking a few people that know more about resolve than I do… Much appreciated. If you’re in NYC, would happily buy you a beer or 2…

I’ve got a complex project supervising the restoration of a 16mm documentary from the ’80s. There are a few sections that require subtitles which we will have to go back to resolve to burn them in. I was given an srt file that I was able to import into premiere and tweak the vertical position as the subtitles need to occasionally be…

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ya kinda gotta live by the rules your software sets. You can bang your head against the wall trying to adapt the software to your previous workflow, but often that’s a waste of time. And as long as you don’t screw with the immediate folder structure of your media, it shouldn’t be an issue to relink if necessary. Gotta say the relinking workflow…

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what I need for the first step is a short clip without any effects (or color correction) to see if I can send it from Premiere to AE and then render it out so it will match the clip in the premiere timeline… Then we can see if adding effects in premiere or AE causes any issues.. make sense?

can you render out of AE to match your source properties? Send a clip to AE without any effects applied and render it out without applying any effects? Does the output match the source clip in Premiere? Getting things to match can be tricky but should be doable. If you could a link to a short clip, happy to see what I can figure out.…

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what happens if you render a file in AE and place it on top of the AE comp on the premiere timeline? Do you still see the loss in quality, etc.?

Did you say you were using a 2010 macpro? I would think that’s gonna be an enormous issue when it comes to render times.

Noise reduction is almost always a trade-off between sharpness and noise. I’ve worked extensively with neat video in AE (sending comps from premiere) and supervised an 16mm feature doc restoration in resolve which used a…

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First, there is a difference between 24fps and 24p (which is actually 23.976). I’m assuming you mean 24p for your new footage.

How were your old newsreel footage clips digitized? If they were transferred “properly” It may be possible to remove the pulldown to restore the clips to progressive 24p. Happy to describe the details of exactly what’s…

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not everyone’s having issues with premiere 2021. I’m not…

please tell us your system specs including OS, RAM, graphics card and your source properties and sequence settings. By any chance were any of your sources from a smartphone or screen recording? If so, the problem may be caused by clips with variable frame rate which can have unexpected and unpredictable issues. Use mediainfo to determine if any…

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I’ve always had issues relinking to media from xml files in resolve. sometimes it works… sometimes it doesn’t.

don’t know if this is the issue but many cameras recording avchd create “spanned clips” because the format of the card has a file size limitation. When the file size limitation is reached, the camera creates a new file and…

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wondering what would happen if you tried loading the project with all the media offline. That would help troubleshoot to figure out whether it was something inherent in the project or in locating the media (although normally you see a window telling you that premiere is locating the media). Also, have you tried creating a new project and…

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are you seeing this within MC or in your output? If in your output, is the format an mpeg format? If so, that’s the nature of the compression. I spent a few days years ago, trying to figure out why I wasn’t seeing clean black at the beginning of my outputs. Finally figured out to make sure I had clean black on the first frame (and last frame)…

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well it’s a year after your post, but I seem to have solved the issue of getting a subtitle file from Premiere into Encore.

https://transcribefiles.net/other/pages/caption-subtitle-converter.htm

spent about 6 hrs last night and this morning googling and googling some more before I found this. If anyone needs more specific instructions for this…

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but I think the step these answers miss is if you’ve already edited the piece, that once you’ve synched the camera original, you’ll need to export these synched clips and then “make offline” the camera original and then “relink” to the clips with the synched audio. There are other workflows for this I think, but this one seems to work for me.…

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You should really remix for the trailer, but the 5.1 tracks may be useable as sources. But couldn’t hurt to ask for the stems.

If I understand correctly, park the playhead at the problem in your sequence and match frame which should load the source clip with the playhead at that frame which should give you the timecode you’re looking for.