Posts in Category "Uncategorized"

July 13, 2019

Premiere Pro v13.1.3 JULY 2019 UPDATE






Improved Stability in the following areas:

  • Launching the application
  • Running the tutorial
  • Opening older projects
  • GPU drivers
  • Adjusting scale
  • Adjusting keyframe values
  • Scrubbing the timeline
  • Modifying speed with nested sequences
  • Caption workflows
  • File format support
  • Freeform mode
  • Keyboard shortcuts
  • 3rd party support




Optimizations to reduce noise output from MacBook Pro 2018

Stretched clips are not triggering Auto-ducking in Essential Sound Panel

Effects setting not being retained when “Maintain Pitch” is turned on when stretching

Channel Mixer missing on stereo tracks and unavailable on stereo clips

Multi-channel sequence turns mute when switching to another sequence

Speed / Duration “Reverse Speed” and “Maintain Audio Pitch” previews in silent

Timeline and source sequence solo state do not match

Playing audio files in reverse can cause buzzing if clips are not 48k or 96k

Added a default preset for “Multiband Compressor”.

Buzzing on audio transition when clips are remapped

When channels are modified, fades are not working properly

Scrubbing will ignore soloed channels in the meters panel

Multi-channel:  3rd party effects are being instantiated as mono on adaptive tracks

Channel monitoring settings are lost when toggling between several sequences




White OP-47 Captions turn Yellow on export to embedded OP-47 Captions

Export of Caption Background Colors for STL export

Long Teletext captions are imported incorrectly

Line Spacing from Captions Import Settings is not used at STL import

Resizing Caption block can cause buttons to draw over each other

Improve handling of text styling correctly at SRT export

Added control line height control in caption preferences

Handle the line spacing correctly for free positioned lines  

Display of styles may be incorrect after STL import

Handle nested tags correctly at STL import




When capturing DPX clip with AJA, timecode is incorrect, and has the wrong format

HEIF image not showing the thumbnail correctly

RED file LUT colors are not reflected in thumbnails

Prores 422 HQ files has significant black/white levels difference on Windows

Lumetri scope is showing many black bars for HEVC HDR image on Windows

Some MPEG-4 AV file import as Audio only file

Improved ProRes 4444 performance


Effects and Editing


Added support for scaled clips with matching aspect ratios for Warp Stabilizer

If a speed change is applied in the project panel, it changes time remapping values

Force Touch and drag on transitions will cause mouse cursor to disappear until restart

Multi-cams do not contain description or comment metadata tags in xml

Cannot drag keyframes in color wheels section and HLS Secondaries

Morph Cut Analysis Banner does not disappear

Scrubbing past end of clip will flash an upside-down frame on Metal

Direct manipulation of video effects fails on Mac if you Control click on a control point

Dip to Black and Dip to White transitions do not allow Copy/Paste

Flattening a multicam with Time Remapping results in wrong keyframes when speed is applied

Find dialog doesn’t find any results while in Freeform view

Can’t apply effects to a group selection in Freeform view

Transmit output to 2nd (primary) monitor doesn’t work if Premiere is running on secondary monitor. Preference cannot be set.

Improved behavior when switching workspaces


Render and Export


Color shift when exporting to YUV formats

Program monitor can go black when applying Lumetri to nested Sequence

Reduced instances where macro-blocking can occur when exporting

Black spots appearing for high luminosity areas such as sun, with Software renderer

Render and replace drop frame clips results in non-drop rendered files


Localization fixes across multiple languages

12:39 AM Permalink
December 11, 2018

December 2018 CC2019 UPDATE

Adobe Pro Video Apps Now Support Crossplatform Apple ProRes Export

(Pr/AME 13.0.2 & AE 16.01)

We are pleased to announce new support for exporting Apple ProRes on the Windows platform with the Dec 2018  updates to the Adobe Creative Cloud video apps, including:

  • Premiere Pro CC
  • After Effects CC
  • Adobe Media Encoder CC
Apple ProRes is a codec technology developed by Apple for high-quality, high-performance editing. It is one of the most popular codecs in professional post-production and is widely used for acquisition, production, delivery, and archive. Adobe has worked with Apple to provide ProRes export to post-production professionals using Premiere Pro and After Effects. Support for ProRes on macOS and Windows helps streamline video production and simplifies final output, including server-based remote rendering with Adobe Media Encoder.



Key call outs for this update



  • Crash when switching into DM mode after dragging the application to another monitor.
  • Crash when running a film project with multiple audio effects.
  • Effect Controls Panel crashes randomly. The control points of curves cannot be selected and adjusted.
  • In a locked project panel, double click opens importer dialog.
  • Crash occurs on zooming video or image in program monitior to 400% and scrolling to the left on Mac OS.
  • Multiple MXF files appear truncated on the system.


  • Performance drop in software decoding in the current build when compared to previous builds (12.11 and 12.12)
  • UI delay on switching clips or locking audio tracks on Mac OS.
  • Latest RED SDK produces occasional soft hang.
  • Crash when creating dummy wifi access point on Mac OS.
  • In H.624 encoding on Windows, Adaptive Match Source (High Bitrate) preset with software encoding results in different bitrates.


  • Clips imported from XML, AAF, prproj, or any other project are not referenced correctly.
  • Import .stl as Teletext is handled as Open Subtitling.


  • Locking audio tracks is slow with mix track option.
  • In a submix track, you get an audio output buzz when playing silence with an effect.
  • In multicam mode, playback has audio glitches.
  • Deadlock with audio with transmit involved.


  • Merged clips are deleted without warnings.
  • Recovered clips are created with merged clips.
  • Clips replaced in timeline appears black.


  • In a non 16:9 sequence, glitches appear on the right edge when the Adjustment layer has a combination of CUDA and Lumetri.
  • Clip Name background color draws over selection outline and clip outline.
  • Auto Color Match does not work with speed change.
  • Color workspaces: Unsafe memory usage in PixelFormatConvert.
  • DCM kernel uses out of scoped memory for kernel parameters.
  • Lumetri Color adds distortion to right edge of stills (MPE – CUDA).
  • In Lumetri, CIrGFTexture does not check for GPU allocation or operation errors.


  • STL Sidecar Captions ignore sequence out point in OP47.
  • Embedded Captions are one frame shorter than content in OP47.

Morph Cut

  • Nesting of large number of clips is not possible.
  • Sequence playback crashes with Morph Cut.
  • The application hangs on moving Morph Cuts.

Export and Render

  • DisplaySurface is limited to 8 bits in Metal.
  • When FCP XML is exported from Premiere Pro, position keyframes are not translated and are set to 0,0.
  • In Metal 1.0, errors appear on playing a project on Mac OS.

Miscellaneous issues

  • Flattening a multicam shifts effect keyframes if its components have speed changes.
  • Shared projects: Merged clips break when dragging from one project to the other.
  • Sync Settings : Removing Manage Creative Cloud Account’still is visible in File>Sync Settings menu on Windows.
  • GoPro7 file displays upside down Proxy with GPU Renderers.
  • An audio icon or wrong icon is displayed for subclips in icon view.
  • Dynamic link: Character Animator cannot find the source and the application terminates when a saved project in Premiere Pro has multiple Character Animator sequences from different Character Animator projects.
  • Out of sync icon +1/-1 unselectable.
  • SRT/STL Import Background is only used, if defined in file. If defined as opaque and “Overwrite file settings”, if should always be used.
1:51 PM Permalink
July 27, 2018

Premiere v12.1 UI Audio Bug (FIX)



In case people are still experiencing the v12.1.1 Audio Bug in a current project with our most recent update V12.1.2, here’s an official post to help clarify what’s happening and how to fix the v12.1.1 project.

v12.1.1 UI Audio Bug
The issue could occur when an audio track was muted in a sequence and then the v12.1.1 project was saved and closed. When you reopened the project, the UI for the sequence no longer showed the audio track as being muted as the UI reset the toggle to show it as on. When a user would play back the sequence , not all of the audio tracks would appear to play causing them to possibly think it was a caching issue or codec related issue. Premiere was actually playing the sequence back correctly as those tracks were muted from the previous save state but the UI bug caused the issue where there was no indication that the track was muted.

Solution: (the Fix)
Once a v12.1.1 project shows this UI behavior it needs to be corrected and resaved. **Note** v12.1.2 will not correct this issue simply by opening the project in V12.1.2 .

You need to follow these steps to repair the project.

1. Toggle the Solo button on/off and the Audio track will correct the playback state. To keep it simple, Solo/Unsolo each audio track.

2. Playback the Sequence to insure that all audio tracks can be heard and monitored.

3. Save the Project

4. Quit Premiere Pro

5. Relaunch and issue should now be fixed.

As stated, the fix for this issue is included in the recent update, v12.1.2. This update keeps the UI bug from occurring so the user should not run into the issue again.


11:23 PM Permalink
July 17, 2018

Premiere Pro v12.1.2 UPDATE NOTES (Enhancements & Bugs Fixed)



Formats Support/Enhancements:

  • Added support for exporting 8K H.264 format
  • Added support for exporting XAVC QFHD Long GOP 4:2:2 formats
  • Added support for Panasonic Camera Metadata



  • Hardware-accelerated H.264 and HEVC decoding on MacBook Pro and iMac Pro machines with Mac OS 10.13
  • Hardware-accelerated HEVC encoding on Windows 10 with 7th Generation (or later) Intel® Core™ processors and Intel Graphics enabled
  • Performance improvements for decoding RED Camera Formats
  • Performance improvements for decoding Sony RAW/X-OCN Camera Formats


Bug Fixes (Highlights):



  • Fixed: Crash when a Team Project is opened in After Effects that contains a Premiere Pro Sequence
  • Fixed: Intermittent crashes when updating comp edited in After Effects
  • Fixed: Copy & Paste a merged clip from one project to another could trigger a null pointer exception.
  • Fixed: Crash when changing audio channels on merged clips and loading into the source panel
  • Fixed: Crash when importing specific ALE files.
  • Fixed: Playhead hangs for ripple trim in trim mode with transmit and second monitor attached
  • Fixed: Import of AVCHD file outside of spanned folder results in period of not responding & audio conform error – Mac Only
  • Fixed: Creating edits for files modified from the Essential Sound changes, could trigger a crash
  • Fixed: Crashing issue with late-model Intel CPUs with the Lumetri Scopes panel (Windows 7)
  • Fixed: Crash when untrimming audio clip accidentally overlapped in imported Audition mixdown
  • Fixed: Closing Premiere after queueing a render could cause Adobe Media Encoder to crash
  • Fixed: issue with importing some ProRes file types.


Merge Clips

  • Fixed: Issue with Paste Merged Clip to another project. 
  • Fixed: Merged Clips can now be opened as sequences
  • Fixed: Issue with deleting search bin containing Merged Clips
  • Fixed: Issue with modified audio channels in Merged Clips.

File and format issues

  • Fixed: Issues with audio/video file importing, including H264 AV (Mac OSX 10.11) and ProRes
  • Fixed: QuickTime files with Alpha Channel flickers during Playback in Mac OS X High Sierra
  • Fixed: Import issue with some Elgato CFR, DNxHD OP Atom MXF, DJI HEVC files
  • Fixed:  Audio playback issues with Filmic Pro files when app is backgrounded.
  • Fixed: Error rendering with XDCAM sources in an MXF wrapper
  • Fixed: SLog-3 the colors now match Sony RAW Viewer
  • Fixed: Color shift issue with Cinema DNG file shot from DJI INSPIRE ZENMUSE X5R
  • Fixed: Some QuickTime-wrapped XDCAMHD 422 files are offline on Mac OSX 10.11
  • Fixed: iPhone H.264 .mov files captured via “Moments” import as audio-only



  • Fixed: Issues with Sequence Markers in Source Monitor, and Marker behavior between Timeline and Source Monitor, including multi-cam sequences.
  • Fixed: Markers issues when duplicating a clip or moving clips from to a new Project.



  • Fixed: Project Panel search bin is dimmed and is not enabled
  • Fixed: Project location switches to the temp directory when dragging sequences from Premiere Pro to Adobe Media Encoder
  • Moving a clip from one project timeline directly to another project timeline will create a Recovered Bin
  • Project and media files from Windows to Mac platform, if project/media files relative path is NOT maintained, all media files will show as missing when project is opened
  • Reveal In Project fails in some cases in icon view
  • If assets inside of bin are exposed during drag and drop from one project to another, duplicates are created if clips are in a sequence
  • Duplicates get created when moving merged clip from one project to another.
  • All track items will lose its custom color when they are moved to a different project
  • Project panel set to Thumbnail View, Reveal in Project does not work for file in unopened Bin
  • Reveal in Project does not highlight/select file
  • Drag & Drop folder structures between project will duplicate sequences



  • Fixed: Open Captions decoding missing from decode list
  • Fixed: Incorrect positioning for imported EBU stl file with open subtitles
  • Fixed: Closed Captions STL issues with currency signs
  • Fixed: Export Caption XML uses non-specification conforming tags
  • Fixed:  Issues with creation and revision dates for Exported STL sidecar files
  • Fixed: Crash where user clicked “+” button on the Captions pane when all existed sub-captions are cleared by “-” button



  • Fixed: Issue where creating project after saving a previous project triggers New Default Workspaces dialog
  • Fixed: Workspaces save now correctly with the project
  • Fixed: Tools panel too wide in default Editing workspace preset (Windows only)



  • Fixed: Audio tracks incorrectly display as muted, after re-opening a project.
  • Fixed: Volume issues when flattening some trimmed multi-cam clip with mono audio
  • Fixed: Issue where Auto Ducking keyframes could cause a crash 
  • Fixed: Issues with Render and replace audio only (MacOS)
  • Fixed: playback issues with some audio clips after exporting
  • Fixed: Audio Preferences changes not retained after relaunch 
  • Fixed: Audio Previews not saved to location specified.
  • Fixed: Default audio levels for XML roundtrip workflows and AAF exports
  • Fixed: Waveform display issues, including Multi-cam clips
  • Fixed: Issues with effects rendering for AAF 
  • Fixed: Issue with importing track volume keyframes in AAF files 


Playback and rendering 

  • Fixed: Artifact issues when using Video limiter 
  • Fixed: Interlacing artifact issues when exporting projects with OpenCL renderer
  • Fixed: Dropped frames when switching from Half Res to Full Res playback 
  • Fixed: Artifact issues with Kona 4 video I/O when sending HDR images to HDMI monitor
  • Fixed: Media Encoder now displays all LUT/Look options for rendering


Color tools

  • Fixed: Scale to frame size now generates correct aspect ratio for analysis
  • Fixed: issue where Color Match applied color adjustments to last keyframe
  • Improved: Color Match now only applies matching algorithms to visible part of cropped image
  • Improved: Reference images with transparency no longer show ghosted Current image
  • Fixed: issues with Basic Correction to HDR images used as Reference image for Color Match
  • Fixed: Ripple Trim Previous Edit to Playhead now displays correct frame 


General fixes

  • Fixed: Timecode issues with some EDL exports
  • Fixed: Start Screen objects and UI load.
  • Fixed: issue with missing fonts 
  • Fixed: Eyedropper tool works correctly with floating panels.
  • Fixed: Timecode entry beyond 24 hours


2:52 PM Permalink
May 13, 2018

(Video) What’s New in Premiere Pro CC v12.1 Spring April 2018 Update (NAB 2018)


8:35 PM Permalink
April 20, 2018

Premiere Pro v12.1.1 UPDATE NOTES (Bugs Fixed)

The following bugs are fixed in version 12.1.1 release of Premiere Pro (AME also updated):

  • Fixed a crash on launch in some cases when loading Cool Type fonts (these fonts are prevented from loading.)
  • PNG files containing Alpha are correctly displayed with the default interpretation of Straight Alpha. 
  • In some PNG frame sequence exports, frames no longer get mixed together (superimposed).
  • Application no longer hangs if you quit it after playback of Sony F5 RAW files.
4:06 PM Permalink
April 8, 2018

Dav’s NAB 2018 #1 Show Pick must have..

As I pack up and head out to NAB 2018 I’m actually looking forward to my 25th NAB show . Each NAB show has our field teams and booth teams busy coping files back and forth between our main booth , field laptops, and our partners who want to share their new tools and their project files. In the past this took all day just to get files copied and it also required stacks of small portable drives that we needed to keep track of who had them last. All of this was mainly due to one thing…transfer speeds .

Our typical Adobe Premiere Pro project folder size ranges from 12GB to over 40GB depending on native RAW projects vs Proxy projects or both RAW & proxy in one project . This NAB, I’ve found the perfect solution and it fits in my pocket – the new Thunderbolt 3 OWC Envoy Pro EX (VE)

This small 2TB bus powered Thunderbolt 3 drive packs the latest SSD (NVMe) technology and something you just need to see and use in person. I could just tell you that it has a sustained 2600MB/s per second that’s optimized for professional video production but my real world daily “on the go” tests are much more impressive to me.

It takes just under 20 Seconds to copy my NAB files (14.56GB) from my Mac Laptop to the Envoy Pro EX. Impressive no matter how you look at it. As I said seeing (& using) is believing.


On the setup side, OWC does a very nice job of making it easy while also giving techies like me full control over setup.

What next?

After NAB , I’ll be taking a closer look at the Envoy EX Pro’s big brother, the ThunderBlade , that’s about twice as wide and a little thicker (cooling fins) and packs up to 8TB of pure Thunderbolt 3 speed. So many uses come to mind from backing up 8K RAW files and my huge VR projects. I’ve using both these drives for several weeks and no question that OWC has set a new performance bar..

Here’s a quick peek inside the New ThunderBlade ..

Stay tuned..

12:58 AM Permalink
April 6, 2018

Premiere Pro CC2018 v12.1 April Release Notes (NAB2018)

(available for download as I write this)

Updates and new features include:

New Onboarding welcome screen

You can now learn more about Premiere Pro using the tutorials within the app. You can access learn content from two places:

New project screen
Learn workspace


New: Shot Comparison View

You can now split the Program Monitor display to compare the look of two different clips or the look of a single clip before and after applying an effect.

You can use this Comparison View in many ways, such as matching the colors between two shots or for adjusting the intensity of an applied effect such as a blur or film grain. Using the vertical or horizontal split allows the user to drag the splitter back and forth across the image to “onion skin” the differences.


New Lumetri Color panel options:

– fx bypass option – to temporarily toggle an entire effect on and off
– Reset Effect – to reset all effects for a single shot
– Custom LUT directory


New Auto Duck music

-you can automatically generate a volume envelope to duck music behind dialogue, sound effects, or any other audio clip.


New Updates to Motion Graphics Templates

-You can now browse for Motion Graphics templates easily using the Essential Graphics panel. You can search for templates that are available locally, in CC Libraries, and in Adobe Stock.

After finding the template you need, you can just drag it into your sequence – regardless of where the template is stored. The redesigned Browse tab also supports hover scrub to preview animations, favoriting Motion Graphics templates, and keywording for quick, intuitive organization, and searching.


New for VR/Immersive workflows

– Support for the Windows Mixed Reality platform HMDs
– Improved performance for VR Plane to Sphere effect


Update for Team Projects

-Improved tracking for online collaborators
-easier project management
-ability to view read-only versions of your projects


New redesigned Timecode Panel

-you can now show new display options, such as In/Out, Duration, Absolute timecode, Remaining timecode, and Source timecode.


New Video Limiter Effect

-enables you to limit chroma and luma CHANGE TO RGB values to meet broadcast specifications. It can be used as a per shot effect while you are working with Lumetri Color, or added as an output effect to limit the entire sequence upon export.


New COPY and PASTE sequence markers

-You can now copy and paste full fidelity sequence markers when moving one or multiple clips, maintaining the same spacing as from where copied. All marker information such as color, notes, duration, marker type is preserved during copy and paste.


New Support H264 & HEVC Hardware encoding

-supports hardware-accelerated H.264 encoding on Windows 10 with 6th Generation (or later) Intel® Core™ processors and Intel Graphics enabled, and hardware-accelerated H.264 and HEVC encoding on Mac OS 10.13 systems with supported hardware. *Note* On supported systems, Hardware Encoding can be selected as an option in the Encoding Settings section of the Export Settings dialog. If the specified combination of Export Settings is not supported by the hardware, there is a fallback to Software Encoding.


New File Format support

– Importing Canon C200 camera formats
– Importing Sony Venice camera formats
– RED camera Image Processing Pipeline [IPP2]


IMPORTANT: Quicktime 7 era formats and codecs has been dropped

Adobe continuously aims to keep up with the most modern workflows and support formats and codecs broadly used across the professional film and video industry. As a result, future versions of Premiere Pro, starting with version 12.1, will no longer support legacy QuickTime 7 era formats and codecs. Professional codecs typically found in QuickTime movie files, such as ProRes, DNxHD, and Animation, are not impacted by this change. These codecs are supported natively in Premiere Pro.

To alert Premiere Pro users regarding this pending change, the most recent versions (12.0, 12.01) of Premiere Pro show a warning notification when you attempt to use a legacy QuickTime format or codec that will no longer be supported, starting with the 12.1 release.

More info here:

New FIXES addressed in this release of Premiere Pro CC

-Crash while toggling RED Camera Orientation checkbox for attached source footage file

– (Mac only) Crash in Opencl_runtime

– Launching Premiere projects with certain VST3’s Audio plugin leads to crash on startup

– Crash caused by Metadata cache database when opening project

– Premiere Pro crashes when track items are deleted and previewed in HMD

-Crash when relinking file if Media Browser is in Thumbnail view

– Premiere Pro crashes while importing ALE files

– Auto Save for Project on unmounted drive results in multiple unknown error dialogs and may crash

– (Mac only) Occasional crash with Media Browser when unmounting an image (and possibly a disk)

– PProHeadless crashes at first launch

– Double clicking a timeline in the project panel opens up a timeline panel with no contents. This issue sometimes causes Premiere Pro to crash

– Crash when playing some files at 1/2 resolution

– Changing to Metal Rendering when Lumetri Scopes are open can cause Premiere Pro to crash

– Loudness radar causes non-reponsiveness with AJA io4k hardware

Corrupted VOB clip causes Premiere Pro to crash on import

Using Basic 3D effect with OpenCL/Metal can cause the operating system to freeze

Playback and performance

All frames are dropped on playback of an HEVC clip when playback is set to less than Full resolution

Opening some projects results in unexpected amount of memory allocation

Change Playback Engine does not automatically update cultist/render bar

File format support

4K DPX sequence causes memory leak in Premiere Pro version 12.0.1

On first import after install, MXF decode error reported with particular ARRIRAW MXF file

Some mov files do not use the native libraries

XF-AVC file( YCC , Canon Log 2) does not show Full Range in Lumitri Scopes

GH5 HEVC files are not able to import or play back

XDCAM-HD is not recognized if the CUEUP.XML file is missing from the file structure

R3D source settings cannot be turned off in the master clip effect

Some R3D files are not flipped automatically

XOCN master clip colour space change from Rec709 to Slog 2 or 3 does not work

Parsing captions while importing sample file causes file to display Media Pending message indefinitely

Changing caption parameters has no effect on exported stl file

MOV files with closed captions from Dalet import as Media Pending and do not display captions

Styling changes to captions (STL and SRT) does not update in timeline

Changing video settings for captions does not affect the font size

If you create long captions in the timeline using the New Caption option in the
context menu, the Captions Block Inspector does not create a scroll bar
Imports and projects

Editing clips between projects hangs Premiere while project is checked for duplicates

Metadata panel is active with read-only projects

Project alias does not open project in new window when using the Alt/Option+double click keyboard shortcut

Write keyframe mode is not preserved when switching projects

Multicam does not copy to another project correctly if component clip is buried in a bin

Open Project does not open closed Project panel tab

Media Browser does not update on computer 1 when you change in/outs on computer 2

Media Browser fails to display files from Studio Network Solutions network drive when mounted using AFP

Track Item label colors do not copy over to new projects

If multiple items are selected in Bin, Metadata panel only adds two entries of information

Editing and effects

Copying a new .cube file into Lumetri Folder breaks previously set LUTs

Morph Cut only allows Center on Cut

Resize mask function using the Shift + mouse drag does not work

Toggle select track and press W has different results

Clip Timecode settings auto-reset to Alternate timecode setting

Default transition duration opens incorrect pane in Premiere Preferences

Set Default Transition Duration from the Effects flyout menu goes to the wrong Preferences dialog

Transform Anchor Point is off a pixel in the xml export

Track Matte Key effect is broken when applied above any clip with a mask

Cannot slide numbers with Wacom tablet

Interpret Footage should be enabled for merged clips so Field Order settings can be edited

Track Fader hit area is off when fader is started at the lowest setting

Relinking source footage from proxy .mov to hi-res .mxf makes sequence tracks containing referenced audio can go off-line

Scopes have serious drawing issues

Disable master clip effects does not work on bins

Alt-clicking Write Keyframes in Clip Mixer not working properly

Esc causes Source View player issues on Mac and closes player on Windows
When you add metadata to multiple selected items, the metadata does not add to last clip

Saving a copy of a project and opening that project causes the existing project tab decoration to falsely display as bin

When you save a project using Save As or Save a Copy there is a break in Filter

Bin Content and Search Bin

Export and Render

Export is truncated when using newly deployed exporter preset

Using Time Tuner on video with R.128 loudness normalization causes segmented and flickering EBU .STL sidecar file

When you export media with the same name as a previously deleted file, Premiere Pro issues a message indicating that the same file already exists in the project

Encoding error when exporting MOG files to MXF Op1a AVC-Intra 100

Low-level exception error occurs if you use the Pixel Motion Blur effect causing render failure.

Encoding error on some mp3 files

Unable to export or process Barco Escape ProRes444 with data burn to Vimeo mp4


When you copy/paste clips with audio from After Effects, Premiere Pro does not copy more than first second of clips

Replace with AE Comp gives a darker composition

High sample rate audio sent to Audition comes across as the wrong sample rate

Distortion or garbage in audio when exporting AAF files

Flattening multicam clips resets the audio to unity (zero dB)

Audio Track Mixer Latch/Touch automation modes sometimes fail and switch to Write mode overwriting automation keyframes

Noise artifacts are heard in stereo audio clips that are placed in Ambisonics sequences when Binauralized monitoring is used

Peak files are missing their extensions on Windows 10 with MXF files
Adobe Immersive Environment

Only one of the HMD hand controllers works with Mac systems

A low-level exception occurs if you attempt to preview an audio only clip when the Adobe Immersive Environment is enabled

Mac Premiere transmit to HMD from the Source Monitor produces a garbage frame or two when the Paused Resolution and Playback Resolution are set to different values

Loud garbage plays back if you attempt to preview Ambisonics audio, that was imported as Mono 4 channel, with binauralization enabled

Changing the color of a track item fails to automatically get reflected in the HMD timebar

The name of a sequence on the HMD timebar does not get automatically updated after you make an edit to it

The HMD Timeline’s Zoom bar, at fully zoomed in position, becomes very difficult to move. Attempts to move it usually result in changing the zoom scale instead of scrolling the view.

When the HMD Timebar has content three minutes or longer the Zoom control bar cannot zoom in enough

Unable to scroll the HMD Timebar view during playback

Clicking on an empty part of the HMD Timeline’s Zoom bar well fails to scroll the Timeline view

The HMD Timeline’s Zoom bar setting does not match the timeline display after you switch to a new clip

The HMD Timeline’s Zoom bar art gets truncated when at fully zoomed in position

The hit spot for adjusting the start or end point of the Zoom bar in the HMD Timeline is too hard to access

Premiere Pro transmit to HMD is extremely slow to initiate on Mac, and sometimes it fails to work at all, after the HMD has been in Stand-by mode

Offline track items fail to appear in the HMD Timeline as red

IN and OUT markers that are set in the Source Monitor fail to appear when viewing the HMD Source Monitor Timeline

The Track Head-Mounted Display option for the Program Monitor toggles off when you switch to a different sequence

If you move the CTI right after jogging, audio previews for a couple of seconds and then stops

Extending the Jog command swipe of the hand controller beyond a 180 degrees messes up the HUD display and haptic feedback

The HMD Timebar fails to highlight the time ruler after just an IN or OUT marker has been placed

VR properties added to a clip that is already in the Source Monitor does not enable HMD viewing

Premiere Pro cannot open .mp4 files generated by JauntVR’s tools


Translation and other localization fixes

Miscellaneous UI fixes

5:52 PM Permalink
February 14, 2016

What’s new in the Premiere Pro CC 2015.2 Update

Premiere 92

This update provides a number of bug fixes reported by users (these are listed below) that we’ve addressed (many thanks to those of your that submitted bug reports) .

In addition to the bug fixes , we’ve also added a new Feature found under the “Wrench Menu” on the Program or Source Monitor that when you Toggle it on the new High Quality Playback setting can provide a smoother viewing experience, where playback better matches the image quality of frames when paused. High Quality playback may result in dropped frames depending on the media and hardware configuration, and most users will find the default settings are still the best choice for real time playback.


HQ playback

Fixes in Premiere Pro CC 2015.2 address the following issues:

* Adobe Stock and CC Libraries could not be used by users who connect to the internet using proxy servers.

* Premiere Pro could not launch on Windows systems with AMD Phenom 2 processors.

* Users of Wacom tablets could experience interface lag.

* Multiple fixes with Adobe Stock support.

* Dissolves displayed incorrectly on OS X El Capitan when working in CUDA mode.

* Crashing issues when Warp Stabilizer re-analyzes.

* DNxHD MXF import sometimes failed.

* Titles could not be imported via the Import dialog on Mac.

* Playback could stop when audio input was set to digital on Mac.

* Synchronizing by audio waveform could give inaccurate results.

* Double clicking a clip or sequence when the Project panel is in icon mode did not open the item.

* Soft Subclips could appear with black thumbnails in the Project panel.
Rendered files sometimes did not maintain sequence start time.

* A crash occurred with importing .wav files from Fostex DC-R 302 recorders.

* Moving the info panel could cause a crash.

* AVCi100 OP-Atom MXF files from Avid displayed incorrectly.

* Audio drop-outs occurred on export.

* The final frame of a nested sequence displayed incorrectly when using optical flow with GPU enabled.

* Merged Clips could become corrupted when round-tripping via FCP XML.

* PSD files caused Premiere Pro to stop responding when closing a project.

* Live Text Templates with more then one parameter often lost render previews.

* Sync Settings did not respect system proxy settings on Windows machines.

* Specular highlights corrupted when exporting to non-PQ J2K files in HDR workflows.

* Merged Clips dropped into a sequence were unlinked.

* Premiere Pro project names incorrectly permitted the back and forward slash characters.

* Render files did not travel with transition and analysis data.

* Text layers in Live Text Templates displayed with jaggy edges.

* XML files exported from FCP 7 could show as corrupt sequences.

*Incorrect fonts were displayed when importing an XML from Annotation Edit software

*Reverse playback could occasionally not work.

*Panasonic 50i/60i .mp4 and .mov displayed incorrectly.

*Premiere Pro crashed if the preferences folder was set to be read only on Mac

*Exporting to QuickTime with MPEG-4 Enhanced Low Delay Audio could result in an Error Compiling Movie dialog.

*GPU playback and rendering failed with sequences containing the Track Matte effect.

*The About dialog showed an incorrect version number.

*Crashing could occur with AJA 12-bit HDR output in software mode.

*IMX 30 full-frame anamorphic exports were incorrectly exported as 4:3.

*Several situations where crashes could occur have been resolved.

4:18 PM Permalink
November 24, 2015

#1 Technology Pick for 2015 – LG OLED 4K HDR


It’s that time of year again to look back and see what 2015 bought us in terms of technology that enhances the ever changing video production workflow and experience. In 2014 I talked about UltraWide displays taking over the video production desktop and no question I’ve seen them everywhere as I traveled around the globe this year. While there are several high quality models of these 34” wide displays on the market from various manufactures, no question that the LG models still stand out to me with their onboard Thunderbolt which helps us in our daily workflow with so many add-on Thunderbolt benefits ranging from portable storage to 10Gig Ethernet adapters and more.

For 2015, I once again look to what’s changing in our world of high-end video production. We all know 4K/UDH is here and available at various price points that attract buyers at all levels. But honestly, 4K for me is not enough to change my personal TV viewing habits. I’ve been working daily in 4K and even some 8K for a while and for the past few years we have narrowed down many of the 4K – 6K resolution challenges. These once complex high-end workflow pipelines are now fairly commonplace in many video production houses.

We all knew that High Dynamic Range color (HDR) is coming and as you can imagine working for a company like Adobe Systems (20 years now), I’ve been working with HDR in one form or another for many years. If you are new to HDR for video, in simple terms, it’s higher contrast/brightness and more accurate color that deliver a more “real world” experience. For years, I’ve worked with extremely high-end proofing displays and often wondered when/how would we get that quality delivered to the average consumer for everyday use. My peers and I would discuss these questions as they would range from the obvious workflow pipeline (moving huge files in/out of production) to content delivery to the consumer.

I’m here to tell you – 4k HDR is here, it’s real, it’s now, and I’m hooked.

HDR On 206

For the past several weeks, I’ve buried myself into the latest 4K & HDR technologies. As with any new technology you need to look at what will drive the change. Or – why would anyone spend money on this?

Whenever new TV technology comes out, it usually requires you spend a lot more money to buy additional items to get the full experience. These include things like expensive media players or worse, special 3D glasses that only work with that particular TV set and so on. For the record, I still dig good Stereo 3D content, but lets face it, it’s not really an everyday thing and it’s more or less a fad that had it’s time. I consider it more as a special event technology.

4K and HDR is anything but a fad. The sheer difference in image quality will leave in you awe. If you are new to 4K, you’ll quickly see that the image looks great when you are really close to the TV. This is completely opposite from your current experience with many LCD or Plasma sets which looks better from about 6-8 feet back. With 4K/UHD resolution sitting about 6-8 feet back from the TV it still looks great but any further back and you will quickly see that it starts to lose it’s effectiveness.

HDR 2020 432

With 4K and HDR content your experience is completely different. The image is strikingly better no matter how close or how far back you are. The simple reason for this is the new color space it now offers the viewer. I could go into a deep explanation of current TV standards known as Rec709 and switching to newer standards like Rec2020, but all you really need to know that the image is so different and more true to life, you’ll be hooked at first glance – guaranteed.

What about content? This was my first question when I started reviewing this technology. We all know to well that “Content is King” for any kind of mass adoption. As you can imagine, at first, I had lots of questions: What’s required for the full experience? Will I need to buy another media player? If so, forget it… I have too many already.

WOW, was I surprised when I started to look for HDR content. There is already HDR content ready to stream to your TV and no “extra” media player is required to view it as it’s all built in the Smart TV and ready to use.

Companies are already fighting for your “eyes on screen” time as there is simply too much video content to absorb in one day. The video production world is quickly ramping up and learning newer and faster ways to work with HDR as one sure way to get more eye on their screens.

People are always looking for new ways to see, experience, and share video content. I see HDR as hands down a clear winner for new content technology that will quickly evolve. If you remember the first time you saw HDTV vs your old TV , HDR will leave you with the same feeling.

Amazon HDR 505

What’s changed for content delivery in 2015 – 2016? As you might recall, previous advanced tech like HDTV or worse 3D, usually was centered around sports or specially video like nature shorts. Currently for me, Amazon has been the HDR destination place and they have some great new content with more coming. I’m currently hooked on a new show called “The Man In The High Castle” which is beautifully shot and breathtaking in terms of the total picture immersion experience. Tip- HDR really stands out in this series starting with episode 3 when there are brighter shots outside the city. Amazon has several other HDR series as well as movies. No question more are on the way and other media delivery/broadcast companies are taking note.

What makes it different and do I buy now or wait?

With HDR, for me it all comes down to the power of light and how to control it. How black is the black and how pure is the white? These are the image basics for great and accurate color. Hands down OLED is my current technology of choice. Once you see the difference between the various technologies it’s a no brainer.

Again, it’s all in the power of controlling the light. Here are 2 TVs showing LED vs OLED. There is virtually no bleed of the white light. In simple terms pure black is produced by turning off the voltage at the pixel level. You’ll quickly notice when the TV goes to pure black it looks as if the TV is completely turned off. Another bonus… OLED also draws less power compared to other LCD & Plasma technology and is razor thin and light weight.

LED vs OLED_3 900


LED vs OLED_7 900



While there are several companies making OLED TVs available, LG clearly as a company that is committed 100% to bring this technology to the home. They are basically putting all of their efforts in the OLED space and helping to bring the cost down to affordable levels for the average consumer. As with any new technology, it does come at a price when it first rolls out and settles down after several months. If you are looking for a long-term TV now rather than replacing your TV every few years then take a look at the new LG OLED HDR TVs. Your best bet is aim higher and keep the set longer and enjoy the new content as it rolls out.


Back to Content Delivery…LG has built their content delivery on webOS 2.0 . You might remember this technology from a few years ago from cell phone maker Palm Inc. and later sold to HP. In 2013 LG acquired WebOS from HP and it’s now part of the growing LG family of advanced technologies.  LG’s WebOS 2.0 for SmartTVs now includes even more powerful features in it’s software development kit making it a solid and fast technology to build a content delivery playback platform.


YouTube 4K
I reviewed lots of SmartTVs over the years and one thing always stood out…the built-in apps are too slow…. This includes many set top boxes that all had access to various Content Apps – all too slow… The webOS 2.0 App experience on the LG TV’s like the Curved 65EG9600 and the standard 55EF9500 is blazing fast. There are also additional free Apps you can download from the LG Content Store.

LG remote

For quick navigation, LG also provides a very simple remote that acts like an “Air Mouse” making application switching a breeze. You can quickly jump from 4K YouTube to Netflix or Hulu to Amazon HDR with a simple point and click just like your desktop or laptop.

What’s next in my HDR workflow testing for 2016? I’ve added LG 55EF9500 OLED display to my current editing suite and so far I’m very impressed with the result for 4K preview – actually it’s stunning. I also use a LG Curved 65EG9600 for viewing online content via the built-in webOS 2.0 as well as a 4K ready TivoBolt matched with a Yamaha RX-A1050 AVENTAGE 4K HDR receiver – Yes, I’m all in……

OLED Workflow copy 900


PremierePro CC HDR 700

Lastly , what about HDR preview in Premiere Pro CC ? I’m currently beta testing some new and some unreleased computers with the first HDMI 2.0 on board display output with new HDMI High Speed 18Gbps transfer speed, 4K @60, 48-Bit Deep Color, and Audio Return Channel (yes, to get all of the advantages of these new displays you need new cables  – look for Media Bridge $10.00 twin pack cables on Amazon) The goal is to see how/if we can use OLED technologies and HDMI 2.0 with 10bit/12bit color HDR workflows for desktop preview. I’ll also be looking for adapters to bridge SDI to HDMI 2.0 to carry those signals at CES 2016 for 3rd party I/O cards that currently offer 4K HDR over SDI.

4 8 stars


wide view

For now – well done LG on your successful rollout and commitment to OLED.
Only one small complaint keeping it from 5 stars … No Skype on webOS 2.0 and I use Skype a lot in my studio. Let’s hope that gets addressed.

More to come…

1:04 PM Permalink