Personal View site logo
Adobe Premiere Pro CC and other CC Suite 2019 products
  • 408 Replies sorted by
  • Some people using SpeedGrade also have found they need to actually download the codec, which you don't if you're just working in PrPro.

    And yea, that weird yellow thing ... I've tested a bunch for that, but it only seems to be "there" on my tests IF the scene is heavy in tones very close to skin ... and then it's annoying but I just cut over to SpeedGrade where it doesn't exist.


  • Create proxies in Premiere Pro CC 2015

  • I'm headed off to NAB ... any questions you want asked of the Adobe folks, post here and I'll try to get a response.

  • @rNeil Will they be fixing chromatic aberration when your working with CDNG file formats? Examples footage coming from Blackmagic Cameras, and especially files that are coming from Magic Lantern Raw.

  • its prettying annoying in premiere how there is no shortcut for fit to fill.

    Unless if you want a popup to come up every time you overwrite edit. Also there is a maximum % for motion fx (speed ramps).

    I don't have this problem in avid media composer with either.

  • The above are noted. I'll check with the Great Red Father in the morning (Monday).

  • @cls105 Why don't you just set it in preferences? ("Default scale to frame size" under General tab). And you can create a shortcut for that (just find "scale" and you see that options there).

  • @cls105

    For a lot of the people I know who've come over to PrPro from some version of FCP, the options for changing default settings, keyboard shorts & such aren't obvious. Such as ... go to the Keyboard shorts option on the edit menu (or Cmd/Ctrl-Alt-K), the very top of the box is a setting that initially say 'Default' ... there are several options there, including setting the keyboard shorts to the FCP7 "default" settings for those things that are equivalent.

    The entire key-board shorts is setup to be modified by users, including a TON of commands that aren't assigned to anything. Scroll down into the ones without assignment, there's a lot of things.


  • @rneil The implementation of the audio mixer and the audio playback are always problematic. There's always latency issues on playback, and it makes it really hard to produce a master that is finely synced with the audio.

    Also, one should have the option to hit the space bar and have the playhead return to the start point without having to use the trimmer. Tx. And tell them their program crashes :)

  • Hi @DrDave Can you explain in more detail the problems with playback latency as it relates to having difficulty getting a finely synced master? I ask because I sync with clapper board and figured that my exported master is correctly synced, even if while editing the playback has latency problem. Am I missing something with my workflow? (My workflow is to use a clapper board when shooting and then once I bring in the video and audio files into Premiere Pro, I can open the audio file waveform and go right to the exact moment of the clapper strike and place a marker. I then place a marker on the video file at exact moment where clapper strikes. Then in timeline I'm able to line up the video and audio clips using those markers. So I then know I'm correctly synced.)

    Thanks, Matt

  • I did a test with metal Xylophone bars and glass jars using a knife edge (NB do not use glass unless you know what you are doing...). I recorded spikes and looked for small discrepancies in the way Premiere handles audio files. I found a number of discrepancies, after precise calibrating the internal offset of the camera. Different versions of Premiere playback the audio with different delays, and there are other differences as well depending on your hardware, of course, even with RME which is the only real way to monitor anything.
    Even on a basic export, if you reload the MP4 file, you will see your peaks move about from the original timeline. The differences are small, but annoying. A sample is a sample. There's no reason that Premiere should not offer something as good as Samplitude did ten years ago, and four-cut crossfades would be a big plus like you have in a professional DAW like Sequoia or Pyramix.

  • That's a bit disconcerting. I don't know the technical reasons for drift/sync problems etc., but it always seems odd why 1 minute of audio shouldn't be 1 minute of audio wherever that file is placed. If you report this to Adobe and create a topic or "fix request", let us know and we'll add our names to the request. Perhaps they'll fix it in an upcoming upgraded new version.

  • I just don't trust the audio. I mix everything down to 32 bit float in my DAW and then cross my fingers :)

  • Advanced Color Grading in Lumetri

  • Editing Large 4k RAW files on low grade computer in Premiere Pro CC 2015.3

  • Is there a way to have same costume luts in Lumetri Premier for qiuck apply without browse them all the time. Cant figure this out, its annoying. Btw Very quietly here about new update 2017... seem to be nothing excited about :)

  • Working with out of range video levels in Adobe Premiere Pro 2017

  • @MikeLinn So basically, Lumetri sucks for technical grading, better to preprocess superwhites in After Effects.

  • Installing LUTs

  • reduxfx is working on a gmic plugin for AE. I think that right now it's only windows and in very early beta, anyway it suppose to be working, if you wanna try, it is free


    DL link -

    For context, G'mic is a superpowerful set of hundreds of filters, there are many platforms that make use of them, maybe being the gimp the more proeminent -

    Personally I'm keeping an eye on these guys as an OFX plugin might also be in the works... =)


    Free FX Console for AE CC from Copilopo's A. Kramer


    Windows DL link                                Mac DL link




    Is somehow kind of relieving to see that people infinite more capable than me are also in a quest for trimming unnecessary extra steps when dealing with repetitive tasks... context: &

  • @MikeLinn video abouve can be partly true. Im not sure if that changed in cc17 but in 15.5 LUTs should be in few more directories. Media encoder for sure and AE etc.

  • What is the easiest way to mix 0-255, 16-255 and 16-235 clips so that the rendering is in legal range 16-235. Is there some automatic ways so that the Premiere reads "flags" or do I have to convert every clip individually?