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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • Thanks @rNeil and @thpluto!

    I'm confused with the video preview setting in the sequence settings...

    I've read that if no effects or frame rate conversions are applied,then codec/resolution of original clip will be used..

    Assuming that i'll use an effect,what's the setting i must choose (gh4 4k .mov files probably in 4k timeline)?

    Are these preview files used when i choose to render a part of the sequence or even if i don't render?

    How does it affect the overall ppro performance?

    PS still trying to decide if i should transcode gh4 files to prores prior to importing into PPro...

  • You're probably good to go using the native mov files, though some have reported better playback using ProRes & DNxHD, as apparently they might be less compressed (though larger) than the mov files, and playback for editing smoother as there's less CPU work to decode.

    Most of the time, I don't need to render previews. So I've not spent a lot of time with that setting, and realistically, it's not that useful for a lot of export purposes so I've not a ton of knowledge. Personally, I think people worry too much about that. And no, PrPro won't make p-view files unless you tell it to, or say for Warp Stabilization it HAS to. The rest of the work it does is by reading the original file on disc, applying your settings to that and giving the result to the computer to display on the monitor.

    Doing a lot of time altering effects, heavy color grading, multiple layers on the timeline, those things can make using a preview file a good thing. At that point, take one of the choices and see if it improves playback time and is usable while viewing. Choosing something good enough to use in an export will take a bit more space on disc ... and yet may not save that much of the export time as a total percentage of the time to make the new file.


  • End credits using Adobe After Effects

  • @MikeLinn,

    Thanks for the link. Excellent and short tut on this especially considering this is in Ae .

  • PrPro's Lumetri panel information ...

    I got a detailed clarification from querying the PrPro/SpeedGrade "team" on the order of application of effects in the Lumetri panel Color Workspace in CC2015. And ... yes, the Lumetri panel is completely Rec709.

    As it shows in the panel, so it is ... total top-to-bottom in application.

    Basic panel effects are applied first ... and that's why the Input (technical/log-correction) LUT is at the top ... so it can "bring" non-Rec709 media into Rec709 for the panel to work properly with it.

    AFTER the input LUT is applied, then the order of application of effect is straight down the panel ... and in fact, down through the panels ... so in the Creative panel, if you apply a style or "look" LUT there, anything you do in that panel or panels below messes with the curves or colors of your chosen stylist LUT. And on down ... until the last thing applied is the Vignette panel.

    This is ok for a lot of basic or non-critical stuff. But ... if you're really working your tech & style LUTs this is NOT the way you'll probably want them applied. In that case ...

    1) Apply a Fast or Three-Way color correction effect to your clip first ... 2) put your log-correcting or whatever "tech" LUT into the Basic tab of the Lumetri panel ... 3) go back to the Fast or Three way corrector you first created, and do your WB/L/G/G exposure/contrast corrections to "feed" the best signal to your tech LUT in that Basic tab 4) go through the Lumetri tabs applying things as you see fit mostly then 5) go back to the Effects tab, and apply your film/style LUT (maybe using LUT buddy) on the effects tab BELOW the Lumetri panel stuff, and 6) go back to the say Basic & Creative tabs to adjust the work there so the best final result shows up through your film/print LUT you put on with LUT Buddy in step 5.

    Of course, if Direct Link to SpeedGrade is working fine for you (as it does for many though not all in CC2015), you can just D-L over to Sg.


  • I need to EDIT my previous remarks ... sorry!

    The way Lut Buddy works in PrPro 2015 I can't actually add a LUT ... so screw that! In the "last" step where you are adding a film/style type LUT, you need to apply another Lumetri effect placed below the color correction steps in the Effects panel, and use the "Creative" twirl down triangle to get to the "Look" LUT option.

    So ...

    1) add a Three-Way color corrector effect; 2) next, put your input/tech/log-correcting LUT in the Lumetri panel "Input" LUT on the Basic tab; 3) adjust the "top" Three-Way to get best color balance & exposure/gamma/gain "through" that LUT; 4) apply another Lumetri effect to the Effects panel, in the Creative tab put your output/films-style LUT; 5) go back to the first Lumetri effect/panel and do your looks-adjusting grading.

    Or just Direct Link over to Sg ... 1) make a LUT layer as the second layer up in the lower right panel (click the + icon at bottom, then "Film-LUT" options) 2) use the bottom 'base' Primary layer to adjust WB/offset/gamma/gain to get your image technically controlled; 3) add another primary layer above the tech LUT; 4) add another LUT layer above 3) for your output/film-style LUT; 5) go to the primary in 3) and do your grading, adding secondaries or other primaries along with this one sandwiched between the two LUT layers as needed.

    Similar steps but I'm much faster at this in Sg ...

    In Resolve, make three nodes ... input LUT on first one, grading on second, output on third ... add nodes as needed. Similar workflow.


  • Im still on 10.9.5 with CC 2014 Thinking of clean install CC2015 on 10.11

    Can you please confirm if el Capitan is ready for Ppro and Ae 2015 (and opposite:) or its better to wait a little longer?

  • @konjow

    From the things I'm still seeing on the Adobe boards & elsewhere, I wouldn't go to El Capitan quite yet. A number of the worst things have been fixed in the latest patch for that OS, but still ... many people are having cursor-lag issues & such.

    I'd give Apple another month or so on this one.

    And as to the PrPro2015 ... there are some nice new things in this, but for some the Direct Link to SpeedGrade is problematical to plain unusable (though some seem to be fine). Some are having issues going into AE, others not. Best practice is as always, install 2015 and keep the previous versions installed.

    The stupid installer some upper brain at Adobe insisted on over the advice of the PrPro team (noted publicly on the forum) automatically uninstalls any previous version ... UNLESS ... you dig through the install options to find the one to leave previous versions alone. Why did this change this time? Because some upper ... um ... whatever ... thought that they should have "uniformity" of installer actions across their programs so people don't get confused. And this is the way several other programs have typically installed, so the PrPro installer HAD to be set up to default to removal of previous versions ... which is 180 degrees AGAINST the proper procedure publicly listed for PrPro use on the Adobe PrPro blogs & all information.

    As ... any project created in one version should probably be run to completion in that version, as most of the time but NOT always do projects update properly because of changes in how tools & effects work.

    For continuing projects, start a new instance of that project in the new version (while still working it in the old) ... copy assets to new folders for this project and bring them in testing how it all works ... and when you've got it working fine, take off "officially" in the newer build.

    I have some projects still in 2014.2, some in 2015. A few new projects that would need heavy grading I've started in 2014.2 because I'm one for whom the PrPro/Sg Direct Link works better there than in 2015.

    2015's "cool new" Color workspace with a Lumetri panel fresh-designed is quite useful for many who just need some quick modification of the look/feel of the image and don't need a full-blown grade. They've also updated some of the audio processes to work better.


  • @rNeil thank you for detail answer. I asked because I will be in the position to finish important projects next week So was thinking to start everything fresh but it looks like i will do one step forward to cc2015 on stable 10.9.5

    Probably Adobe will make same update for Capitan soon as well.

    Thanks again

  • @konjow

    Always happy to help. And yes, Adobe's trying to nail down some of the things that El Capitan don't like ... but no idea when that "fix" will be out. Or another Apple patch for E-C.


  • I'm running CC2015 on win7 and PrePro is still not capable of playing files without significant audio latency even though they play fine in CC2014. I'm still waiting for a working version so no one should hold their breath on Adobe releasing major bug-fix updates.

  • @spacewig

    There are some number of users having the issue you're having, many not. It's something they've noted awareness of and anticipate the next update will fix. No timetable on that however. We are coming into the middle of the area they have released a patch in the last couple cycles ... just as historical reference.

    2015 has been perhaps a "transitional" ish ... they changed a lot under-the-hood so to speak it seems. Some worked well for quite a few systems, some work but not so well, and on some systems ... no worky at all noway zip nada. For me, general stuff works fine (and I've not had the latency issue, also running Win7), but ... the Direct Link to SpeedGrade sometimes works and sometimes is slow a n d l a g g y . . . so I'm still running some things through 2014.2 my self, and know some others who are flippin' power-editors with Adobe stuff doing the same.

    And I know some editors who are ripping along in 2015 without troubles. Ah well, ours not to reason why ... ;-)


  • @Spacewig this is for sure a problem at all levels, and also affects the ability to precisely set audio sync when scrubbing at slow speeds which has been a disaster for some time--and is not likely to be fixed in the future. Fact is, the audio has been really screwed up for several update cycles.

    However, you can minimize the damage by setting the audio delay to 50 in the settings panel. It looks like it only affects ASIO, but it also affects the basic mixer. Typically, by adjusting this setting, you can reduce the inherent latency by 150ms or more. However, this will not eliminate the problem, and what is needed is an overhaul of the whole mixer.

  • @DrDave Thanks for the heads up. And what a shame. I now simply use 2015 as the final output to do fast color correction with lumetri when I don't want to go through Resolve.

    But yeah, my sound card uses ASIO drivers so this glitch makes CC 2015 very difficult to work with for regular editing/sync work. Hopefully they'll get these issues fixed sooner rather than later but I'm not holding my breath.

    That being said, I appreciate the latency tweak setting as it will make sync issues during color correction that much less distracting.

  • It could be that the mixer implementation is adding latency on top of the ASIO panel latency. You could try just running windows/Mac mixer, whatever you are using, to see if that is the case.

  • Sorry I have not red all the replys but is it possible to preview smoothly with Premier cc GH4 4k files when there is one alpha mask curve correction in 4k timeline and 4k display? I mean 30P 4k without any dropped frames. How powerful computer/graphics card it needs?

  • @Vesku

    Partly depends on the codec used ... although PrPro 'handles' natively most anything, the in-built mov/mp4 files are rather compressed, so I know a few people that decided to transcode to either ProRes (Mac) or DNxHD (Pc) just to get a less-compressed file that doesn't rag the CPU as much for decoding. It is, of course, a bigger file but their setups have a 'dedicated' media internal HD with full mobo connections, so the read situation for the media is hot.

    With a good setup for PrPro, it typically does ok ... and naturally, if you're throwing on several effects, you might need to render a section of the timeline previews for smoothest playback.

    So ... with separate discs for OS/programs; media; project files; and cache/preview/database all running SATAii internal or external or Thunderbolt, and say 32GB RAM, and a decent graphics card with 2GB vRAM or better, it should work pretty good.

    A constant slow-down is not having enough fast disc connections so that everything is on one or two drives. Then it's not your CPU, RAM, or GPU that slows things up ... just not enough capacity for the through-put to disc & back. Media is a one-way read-only operation, so for up to full-HD (1920x1080) you can typically get by with a fast SSD or flash-drive for that on a USB3 connection. However, 4k material for most people doesn't work fast enough over USB3.


  • @rNeil

    Thanks, so many variables... Can you test my example with your setup and tell the result? What computer set up do you have?

  • @Vesku

    Testing on mine won't matter for yours ... btw, I've got a twin-RAID 0 array for OS, an SSD cache disk, and 4 internal HDs on SATA III, and two externals on eSATA II.

    Give me your computer & I can give a much better idea how it will work for you.


  • @rNeil I just wanted to know some hint of what is possible. I have an idea to improve video image in real time some times when I dont want to edit a final program. Just use editor as player. I have no editor today and I have wondered that I must update my 4 years old computer. I think that hard disks setup has no importance of preview speed when using one clip in time line.

  • @Vesku

    Maybe not ... IF there are no effects and you're just using it as a video player. But then ... why use an NLE for a basic player? And there are some people who do edit on pretty decently high-end laptops.

    As soon as you start doing anything to the image, PrPro 'stores' those commands in its own project files, databases & caches ... and then uses those stored commands to process the media off the disc on the fly to create the image you see in the playback monitor. Even with not a lot applied, it starts to load down many computers. Certain effects can really hog resources.

    And of course ... it has to be a 64-bit OS.


    Case anyone used CC Time Blend FFX plugin (easy way of making star trails in a timelapse ) and misses it from AE CC 2015... adobe blaims cycorefx for its extinction and cycore... well cycore staff went to see greek tragedies, got almost humanized and made a preset that workarounds the "unconvenience of the situation", still limited to 16bpc max // install instructions within

    These Animation Presets makes it possible to apply and use the obsolete versions of Time Blend and Time Blend FX in After Effects CC 2015, without having to open old projects that uses the plug-ins. The obsolete versions are 16 bpc in the CycoreFX HD package.

                                                          Win and Mac CC Time Blend FFX direct donwload


  • With the release yesterday of the 2015.1 update to all the Adobe apps, some of the issues for lag, poor link between PrPro & SpeedGrade using the "Direct Link" process, a number of other things are fixed or working better, even with El Capitan on the Macs. Not perfect mind you, but thankfully many things have been fixed, including adding in HEVC (H.265) support. Although some Windows users may need to download the HEVC codec pack from DivX ..


  • Media encoder installs it. The yellow bias in lumetri saturation is still there.