I’m frequently seeing the Effects control panel “stick” on a clip. I make a change to a clip in the Effects panel, then select a different clip, but the Effects panel continues to show the first clip. It does not update to show the new clip. Often I don’t realize it right away because the controls still work, but they aren’t changing the currently…

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Last I checked the behavior is still unpredictable, though it may not be precisely the same. I suspect it is related to non-standard frame sizes. I have grown accustomed to working around it so I have not experimented with it much recently.

Version 25.1. Roughly a full second after 20 minutes. Because there is little hard sync in these shows, it’s difficult to evaluate drift. These shows are 5.1 source to 5.1 MP4 and this may be specific to 5.1 audio. I have not tested stereo. Quicktime ProRes export is fine, in sync, but transcodes from the ProRes masters using Encoder are…

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Just a caveat. Like you, my feature experience is limited, but having just struggled with the exact same question, I feel qualified to give you the simple answer.

For me, the hardest adjustment to make was that it’s not about “levels” but relative loudness. The aha moment was when someone helpfully pointed out that theaters do not adjust volume.…

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Micro-budget. Master to broadcast standards except for audio. Keep your gamma low, blacks down and shadows shadowy. Theatrical projection will ere on the high side, meaning high blacks and poor contrast. I don’t mean overcompensate. Just be careful. For wide release, you need to be 24fps. Many small theaters are 24fps only. If you’ve mastered at…

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Mastering and QC for DCP is not significantly different from any high-quality master. You can take a broadcast master directly to DCP though that would not be ideal. Theatrical projection is more forgiving than broadcast from a technical point of view, and less standardized, assuming you are not creating a feature for Dolby or IMAX. For aesthetic…

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Need? No. They may benefit you depending on how complex the project is. Proxies have two major roles. They simplify real-time playback and they allow for editing with less storage. A Mac studio with fast media storage will have no problem playing a couple of streams of 4K. Once you start layering and applying effects, real-time playback will slow…

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Sometimes you need to dig deep. Thirty years from film to video to non-linear to virtual and sometimes I still rack my brain on “simple” concepts like this. I appreciate the opportunity to work my way through an explanation, and that you made the effort needed to understand.

Well, as you can see, it is a confusing topic, but I believe what you want is the Duration, not Media End which is peculiar to Premiere.

Duration indicates the length of active program including every frame. In other words, if you output that program as a file without time
code<i class=””>, Duration is how long the picture will be. If you take…

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First, let me compliment you on asking this question. Most people would just gloss this over.

Timecode counts time, not frames.

Premiere is identifying the Out Point incorrectly. To be fair Premiere is doing what makes sense to users visually in a graphical environment, but it’s not correct historically or mathematically. Hence the disconnect…

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Haven’t seen this question in a long time. The prior response is correct. If you are being precise, TC indicates the beginning of a frame. An Out Point is marked at the end of a frame so as to include that frame. If you mark an in and out without moving the position you’ll have a one frame duration.

When you need to be inclusive of all visible fra…

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Reference level is not the same as peak levels and DCPs don’t have a signal maximum (other than -0).

TLDR: Set your levels to broadcast standards with your average or median levels at -20.

Ref -20dBFS is the common reference level for broadcast, the “reference” historically being the level of the 1Khz tone in Bars and Tone. These days it’s easier…

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Yup. Precedence and order. Adjustment layers act on the layers below NOT the individual clips. The nested sequence is not 2000 pixels wide from the point of view of the adjustment layer above because it’s moving the layer, not the clip. If you want to change the framing of the nested sequence you have to apply the effect to the nest.

In my experience, this is a project-media problem, not a bandwidth problem. This can be the project itself—size, corruption, complex elements—or problematic media. Camera audio is a common culprit, particularly long, multi-track camera originals. Adobe is not great at handling compressed audio. It converts everything and it’s shockingly slow at…

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Just looked at the specs for QLab. Your issue is probably not your codec but the CRTs. The direct answer to your question, “what is lightest,” is MP4 h.264. For standard definition, a bitrate of 10Mbps would be high-quality and should not be an issue for any modern system.

Your problem is probably a signal issue. You are sending the wrong signal…

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At the risk of oversimplifying with too little information, those two screenshots are certainly poorly lit for the actors but not necessarily underexposed overall. As the camera person points out, the contrast between the background lights and the actor’s faces is problematic, but I don’t see a fundamental problem that can’t be addressed in…

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In a “duh” moment, I realized it was easy to test the max sequence length in Premiere. I can report that it is, indeed, 24 hours. Even setting the sequence to film feet and frames still maxes at 24 hours. Even if you can bring the clip in, you can’t put it in a timeline. FYI this was the current version of PP on Mac.

Mind you, like others I don’t have a 24+ clip to test so I don’t know for sure what PP can and can’t do. I’m presuming based on experience and theory. As for stripping the code, there are tools to do this but really you want to convert to a non-time code format (mp4, HEVC, JPEG image sequence, etc) using a tool that does not automatically copy th…

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Try striping the time code from the file. Rolling time code past 24 hours is problematic because you’ll end up with duplicate, non-ascending code. So you either need to break it apart or switch to an editor not bound by code. Even if you can get the file in this way, Premiere probably can’t create a timeline longer than 24 hours. You can try…

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I have a few cheap, off-brands. They all work most of the time. But my very old LaCie and internal Pioneers are still the most reliable, if not the fastest. The LaCie is likely a Pioneer inside (gold standard back in the day), though I’ve never checked. If you are reading lots of old discs, it’s good to have a few options. Not all readers will…

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Check the Mercury Playback audio offset. See screenshot.

Sounds like you might be playing your computer audio through a different path than your Premiere audio. Are you using a DA for Premiere audio out? Premiere has audio delay settings for output for precisely this reason. You may have a natural video delay that Premiere is compensating for.

Or reduce font size and/or tracking.

Big question! I’m not a Resolve editor, but this is not specifically a Resolve issue. First, get perspective. Go back to the earliest, highest-quality digitization. That would be the original MXF. Open those files directly, in both an NLE and in VLC. They should look essentially the same. And also quite small on your screen at actual size.…

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The details depend on your technical plan and aesthetic intention. In particular, is this going to be two side-by-side projections that simply need to be in sync, or is it meant to be a single seamless image. But the short answer:

Create a Premiere sequence that is the dimension of your final projection or at least the exact aspect ratio if you…

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A couple of things, not necessarily related, but to consider, adn YMMV. Moving projects can cause corruption. No two systems are truly identical. This would also explain why copying the contents of the old project to a newly created project on the new system would solve the problem.

This is an often-overlooked troubleshooting step, and it’s easy.…

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Yes, most professional digitizing apps, including software available from Blackmagic for free, will see the Intensity as an input device. Blackmagic has instructions for the major NLE’s online.

The proper technical term would be “component” or “YUV” input. Technically RGB is different though your confusion is common. If you can put your hands on a Blackmagic “Intensity” unit, this is probably your most cost-effective option. There are cheaper units for component to HDMI but these are not “professional” quality devices. They may be fine…

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It’s called a “replace” edit and works the same for a PNG as video. The easiest way is to Option-drag and drop onto the clip you want to replace. This will replace the content while keeping all edit points, effects, etc. If the new PNG is a different resolution, then motion effects will need to be adjusted.

Brightsign makes the exhibit industry leading standalone media players. Maybe overkill but powerful. Many variations depending on what you need. There’s an inexpensive line called Micca Speck on Amazon that may be sufficient. These are basic but very effective for simple playback. Most models prefer to play from micro sd but many can actually p…

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If you have machine control you should be getting timecode. Timecode in this setup traditionally comes via the serial control connection, though it can come via the other paths mentioned. If you are not getting timecode, you probably need to adjust the output settings at the deck or in software. The deck does have TC output controls and may be set…

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Honestly, I did not know that Vimeo could be frame accurate, so no. I see that Shift-arrow moves one frame at a time but the resulting notes do not include frames. I’m at the “Pro” tier, $240/year. Vimeo works for me because my reviewers are not professionals, but clients, and they are generally not even second-accurate! If I was reviewing…

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Vimeo for the previously cited reason. Vimeo has proven to be the easiest tool for clients to understand and use. In fact it’s proven more effective than sending review files so I use it almost exclusively even if the client never uses the review tools, and they generally don’t. Like PDFs, I can control what the client sees so it’s very easy to tr…

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It is pretty amazing. I first tested it on a poorly recorded track I’d already worked on for about two hours, including denoise filters. I gave it the original and the result was exactly as advertised, like a clean, studio recording. It does have limits. I gave it a degraded archival recording a few days ago and the result was horrific. Far worse…

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Try Adobe’s new “Enhance Speech” tool. https://podcast.adobe.com/enhance

I would not attempt to change the interviewee’s delivery unless it is too quiet in an absolute sense, meaning it can’t properly be recorded. Any reduction in dynamic range should be done after the fact if possible.

Apparently, they do not understand how dpi works. This is surprisingly common with graphic artists. They can (and should) change the dpi to whatever they want. It is an arbitrary setting that determines printing size, not resolution. Video has no dpi.

You’ll need to give us more information. If you match time code at the start of a clip, are you saying the sound doesn’t sync with picture or that the sound doesn’t stay in sync? Have you tried ignoring code and syncing some other way? Try to describe what’s not working. A screenshot showing code might help.

Try asking ChatGPT. I’m not joking. I don’t know scripting but Chat GPT apparently does.

This suggests that the fix is merely a side effect of resetting preferences and you have not found the root. Try other troubleshooting. For instance, this sounds more like a caching or memory problem, or a conflict, than a preferences problem, unless it’s related to a specific setting that you are re-setting after the reset (if you follow me).…

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<div>Premiere insists on showing you the portion of the timeline that contains the position indicator, at least when you are stopped. This is a good thing. I suspect the behavior you describe (which can be annoying) is because you have auto-scrolling on. If set auto-scrolling to “No scroll” (Preferences, Timeline) then it will let you examine the… Read more

This is what audio “Compressors” are for. Simplified, an audio compressor takes audio above a certain level, the “threshold,” and compresses it down a certain amount, the “ratio,” decreasing the dynamic range of the part above the threshold. You are squishing the louder parts and the quieter parts closer together. You then add “gain” back to…

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Consider that the problem might not be the import, but a change (or bug) in the handling of audio files. Silent audio is often a symptom of incompatibility, which I (shockingly) still run into frequently, especially with multi-channel or archival tracks and at version changes. First, try importing just one raw audio file. If that doesn’t work, try…

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You can do this fairly easily with Transforms with masks, or Transforms and Crops. I’d probably go with cropping because crops can be set numerically and masks can’t (or can they? Anyone?).

First effect. Take your full frame clip. Apply Transform and Crop. Set Crop to mask all but top strip. I would calculate your crops in advance so you can set…

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I can’t help find that specific transition. And if it was a few years ago and a one-off it’s probably not compatible with the latest versions. You can achieve the move with “Basic 3D” using distance, tilt, and swivel, combined with the position controls. You can add a border and fake the extrusion using multiple DropShadow effects.

Not nearly as…

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When I change the shutter angle in the Transform effect, the image anchor fails. The anchor position as show in the controls and by on-screen indicator doesn’t move, but the image no longer anchors at that point. For example, a rotation. If I set up a rotation around a center anchor (default position), it works fine. As soon as I change the…

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Both are perfectly good choices. Both use different forms of lossless compression. It may be hard to get an explanation for file size difference, though a 12-bit file should be larger than an 8-bit file. Premiere has historically had some issues with Prores 4444. Conversely, the current “silicon native” version of the Adobe suite has issues with…

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The simplest solution is to import into Premiere, string out, and reexport as ProResHQ. The generational loss will be near zero assuming you match all specs and don’t add any other processing. That’s the point of ProRes HQ. ProRes HQ has been tested many times for generational loss and it is, at worse, near zero, even after many generations.

Even…

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Anyone have tricks for getting iPhone video to display time-of-day “code” (or any unique code for that matte) instead of counting from zero?

Digital Rebellion’s QT Edit can add a new Timecode track based on the time stamp. It doesn’t reflect shoot time accurately, but at least it’s unique and relative to other clips. This works for QT timecode…

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A multicam clip is a clip and behaves like one. When you double-click a multicam clip in the bin, it loads into the source monitor ready for multicam editing. It will edit like a clip, retaining it’s multicam properties.

For sequences, regular or nested, you can right-click in the bin. Down near the bottom is “Open as Source Sequence.” This will…

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