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Adobe Premiere Pro CC and other CC Suite 2021 products
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  • spacewigspacewig

    They still haven't fixed the issue with ASIO drivers. Unbelievable for a company this size.

  • caveportcaveport

    I did a series of tests in Premiere to see how it handles full range 0-255 (8-bit) video in a prores mov file which was rendered from Resolve. Premiere clips the highs and lows due to interpreting the prores format as video range 16-235. I have not found a way to stop the clipping. The Premiere effects tools all process AFTER the clipping has taken place. Premiere does not have an option to force the clips to be seen as video levels. If anyone has had actual hands-on experience with a solution, I would be keen to hear it.

  • konjowkonjow

    I think easiest way is to use "3way color corrector" Set "in" and "out" range

  • VeskuVesku

    I see lots of videos in Youtube with lost superwhites. I think many using Premier or Premier Elements dont figure how to save highlights from their camera to final video.

  • VeskuVesku

    @LPowell

    Thanks. I am not sure if this is the "easy way". I am actually asking this for my friend who has not much idea of video levels. I dont have Premier.

  • LPowellLPowell

    @Vesku In Premiere Pro, some effects and plugins will preserve superwhites, others will clip them off. When making simple adjustments, I always try ProcAmp first, as it's also blazingly fast to render. The rigorous way to combine mixed-range footage is to pre-process all clips first in After Effects, with Color Management set to 32-bit Rec 709. AE will then automatically remap color values as needed, and you can use Color Finesse to measure and scale the gain levels to keep them within 100 IRE.

  • VeskuVesku

    Start sequence in studio swing as mentioned in Part 3.

    ...And what then? How can i make all the different videos between 0-100 IRE?

  • rheinpiratrheinpirat

    Start sequence in studio swing as mentioned in Part 3.

  • VeskuVesku

    @rheinpirat

    Thanks. This is the theory but still I must ask again: 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/adjust every clip individually?

  • rheinpiratrheinpirat

    maybe this is useful:

  • VeskuVesku

    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?

  • konjowkonjow

    @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.

  • maxrmaxr

    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 - http://reduxfx.com/gmic/rfx_gmic_plugin_0.3b.zip

     
    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 - http://gmic.eu

     
    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

     


     

     
    Source: http://www.videocopilot.net/blog/2016/11/fx-console-v1-0-1-new-enhancements-and-fixes/

     
    PDˆfootnote
    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: http://personal-view.com/talks/discussion/comment/202539#Comment_202539 & http://personal-view.com/talks/discussion/comment/228852#Comment_228852

  • MikeLinnMikeLinn

    Installing LUTs

  • LPowellLPowell

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

  • MikeLinnMikeLinn

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

  • konjowkonjow

    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 :)

  • MikeLinnMikeLinn

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

  • MikeLinnMikeLinn

    Advanced Color Grading in Lumetri

  • DrDaveDrDave

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

  • matt_gh2matt_gh2

    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.

  • DrDaveDrDave

    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.

  • matt_gh2matt_gh2

    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

  • DrDaveDrDave

    @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 :)

  • MikeLinnMikeLinn

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