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    Hi dear friends.


    I'm using Adobe Premiere Pro CC 2019 on my Windows 10 laptop (ASUS N501jw) which has Nvidia GeForce 960M graphics on board. When I create a project, The rendering engine is chosen as Mercury Playback Engine GPU Acceleration (Open CL). I'm wondering shouldn't it be CUDA? Is my gpu being used in right way?

    rendering engine.jpg

    Thanks for you kind help!

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    Found two posts that may be of interest or use ...



    And also ...

    Mac Color Profiles Repair Steps.PNG

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    Ha Ha ,


    I think that part of the problem is that we expect a possibly unfair level of precision from these products. These tools have advanced so rapidly that we are frustrated when they don't reach the levels of our expectations which we continually adjust upward. There is logically a reason for expensive color correction equipment and trained people to use that equipment. Pr Pro is a powerful professional tool... but there is a next level. I don't think that it's just about intentionally throttling the software with "bugs" to justify more expensive solutions.


    That said, I'm interested to know why more expensive equipment does a better job... it's not just that they have more adjustment possibilities. I think that it has to do with norms and standards. Transmitted color rendition is pretty magical stuff. There are frequencies, color depths, and latitudes of visible spectrums. Norms and standards guarantee that results are consistent (not better, but stable). complying with standards is expensive... so even if we think we are paying a lot for Pr Pro, this professional software,... I imagine Pr Pro would be a lot more expensive if all of it's outputs were norm conform. I'm not apologizing for Adobe, I just think that is a realistic assessment.


    Can we still get good results in spite of knowing this? I think we can... Knowing this will help me spend a little less time tweaking my *** off for hours, to get that perfect look, when I know that it will look different somewhere else.

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    did you try different options in the "audio hardware" preferences?  Weirdly enough I've had this issue and then seen it go away after switching "Default Input" to "No Input" before.

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    Do not count on Windows to be fully up to date when it comes to device drivers

    Go to the vendor site to be sure you have an updated driver for your graphic adapter

    •nVidia Driver Downloads


    There are also intermittent reports that the newest driver is not always the best driver due to driver bugs or compatibility issues, so you MAY need to try an earlier driver version


    ALSO... I don't have any links handy, but I **think** I've read that the most recent Premiere Pro has dropped CUDA support for some older nVidia cards

    0 0

    I have a sound / music problem.

    My timelines are typically with 48 kHz audio tracks because I use sony fs7 for pictures and interviews. But my music service uses 44.1khz.

    When I cut everything is fine, but when I export, the music can "jump" where I made a clip in it.

    Until now I have transcoded the music into 48 khz, but it is frustrating.

    What should I do ?

    I use a focusrite scarlett sound card, on my desktop PC (windows 10)

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    I’m getting black screens and have to close PP CC down then load it back up again and the video can be seen in the 2 top panes again. This is pretty bad and has happened a good few times and it’s really doing my head in!


    I was getting this on the Tutorials so nothing special and demanding, the panes at the top were the Source and


    0 0


    Recommend any changes to the app by filing here: Premiere Pro: Hot (3777 ideas) – Adobe video & audio apps



    0 0

    The problem really comes from the basic physics that no two screens are alike ... period. Most users expect that "video" is just shown in X manner, period.


    But even with all the expensive monitors and calibration gear, colorists can NEVER totally match two screens in their own suite. A constant design issue for pro colorists who often have client-attended sessions is setting up their suite so the clients cannot see the 'confidence' or other monitors the colorist is working from, but only the monitor provided as the client's view monitor.


    The bane of a colorist's life is when the client looks over at the colorist's screen and says .. "Make my screen look like that one ... " ... and it happens a lot.


    Mind you, this is on monitors from FSI and like places, costing $5,000 and up ... with gear that spendy used to profile then calibrate them via external LUT boxes.


    So ... they work very hard to get things set as  tightly to the particular standard for the deliverables they are making at the moment, most often video sRGB/Rec.709 gamma 2.4, viewed in a somewhat darkened room at probably 100nits on the main display. Though other spaces are actually coming in on rare occasions now.


    They use their outboard scopes to make sure that there are no excursions of saturation, whites or blacks going to get the project bounced from the QC machine of whatever service the project will be broadcast over. And ... send it out Into The Wild and move on.


    Every TV that project is seen on will show a different view of the project. Just think ... even on the same screen ... the contrast and saturation will look massively different just between bright daylight coming into the room from large windows and the same TV/program at night with no lights on.


    The entire reason for colorists to have the spendy gear is just to ensure they CAN get tight close to the "standards" because most gear consumers will be viewing it on are so freaking far off. Producing to standard means you get closer to the middle ground of what people will see ... but primarily ... it means your stuff, when viewed on anyone's screen ... will .. on that screen at that moment ... look like other professionally produced material.


    And you get on with Life. Get your work done, go home to spouse & kids, your dog/cat/alligator/whatever.


    And jump into the next project.



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    The '3D' effect looks like an RGB Split transition. You might want to search for glitch effect as well.



    The 'Slow Camera' is probably just 'time remapping'. Slowing down in the middle of a clip, but speeding up as you transition to the next to make it seem like you've 'whooshed' to the next clip.


    Hope my English is clear enough for you.

    0 0



    We are having numerous performance issues within Premiere Pro, which all look to have started in December.


    Previously, PC ran perfectly fine with the same footage and compiling etc., but only recently started occurring. The PC will shoot up to 100% CPU usage at times, but other hardware is not maxed out (e.g. RAM only using 10GB of 16GB, GPU hardly being used, Disk fine)


    The issues we notice are glitchy or laggy video, unable to skip through the timeline (we can skip forward, but the video still shows video from previous location on the timeline), stuttering video or video locking up altogether


    We have:

    • Tested on 3 machines, same issue
    • Tried various playback settings e.g. half quality playback and quarter
    • Tried different rendering options e.g. turn CUDA off
    • Rolling back to previous versions of Premiere
    • Updating and rolling back Graphics Driver
    • Full reinstall of CC and Premiere
    • Full OS re-install


    The above has had no effect, and the issue persists for us.


    PC specs are:


    i7 7700K

    Gigabyte GA-H270-HD3

    16GB DDR4 2400Mhz RAM

    Samsung 850 EVO 250GB SATA3 SSD

    Geforce GTX 1070


    I find it hard to believe the hardware is not adequate, as it was working fine previously and meets the requirements as far as I can find. We are at a loss as to where to go forward from here.


    Is anyone else coming across similar issues?

    0 0

    Christian.Z  wrote


    For me it's working fine. Some people were reporting stability bugs, but most of them were solved by the regular preferences/Cache trashing, Or by optimizing their systems and workflows.


    What are the specs of your system? Are you using a different software? or an older version of PP?
    If you are using a different software, you can try PP for 30 days.
    If you are using an older version I suggest the following:
    1- Do not update if you have pending projects. Finish your important projects before updating.

    2- When you update it, try it daily for 2-4 weeks, report any issues you might have, and If you did not feel comfortable, you can roll back to the older version.


    Let me know.


    I hoped that I implied that I was a full-time post pro in my Subject, so I wasn't looking for advice for amateurs.  This is my 50th year as a full-time editor.  I was an early convert to Avid, and did the switches to FCP and then PP CS 5.5 as they emerged as the better NLEs for people who didn't want to pay the ransom on an outrageously priced Avid dongle.  So, I'm no babe in the woods as to jumping on the newest build without covering my butt.  That's why I'm still using Ae and Pr CC 2018, as I've found them mostly reliable, except for the constant loss of Dynamically Linked clips from Ae in Pr. 


    That's a minor nuisance, although constant.  I've done a lot of re-rendering and relinking in Pr.  It's gotten to where I use the Replace with After Effects Composition in Pr, do my voodoo in Ae, render it, and replace the DLed clip in Pr to avoid constant re-rendering in Pr.


    Christian, my system is as bold and bad as can be had on a cheesegrater MacPro 5,1, 128GB RAM, Titan X GPU, ATTO RAID5, 10.13.6 - which IINM, is the most powerful OSX hardware available if you want to maximize Pr's implementation of CUDA, and GPU in general.


    The one thing I've noticed that will cause instability in this and prior versions of Pr is when I have a variety of codecs in my source media, especially crap codecs like AVCHD - highly compressed Long-GOP.  Those seem to cause prefs corruption, and I have a routine for saving a clean set that puts me back in business when that happens: 


    Alias to enclosing folder on Desktop, with a fresh, virgin set of prefs in a zip file in that folder.  Trash the bad prefs, unzip the good ones, and relaunch.  Double-click the Project file while Pr is launching, and I'm back to where I was in about a minute.


    Most of the projects I do with quality codecs from Sony, Panasonic, RED, Canon, Atomos, etc. have been very stable, with which I've had fewer crashes and prefs corruption.


    If you all don't know about this free Pr Project Downgrader, you should.  I may save your impetuous butts some day.

    Premiere Project Downgrader - Free prproj Version Convert

    IMO, Adobe should offer a script or utility that does this, instead of making us rely on the generosity of another user.


    Thanks for the input from everybody!



    0 0

    tim langm,

    Still suffering with this issue? Let us know so we can assist.



    0 0


    Still having issues or are you clear of them? Let us know.



    0 0

    Is one of the issues I'm having.  Others are:


    No playback in either the source or program monitors - the source screen shows black and the program screen is white.  


    Sequence won't start playing when I short cut with the space bar or click play - playhead on timeline also will not move


    What I've tried to do:


    Shut down PP several times (beachball each time and have to force quit.


    Opened different projects on different drives. 


    My specs:


    I am running PP 2019.  Just updated MacOs to Mojave 10.14.2.  Installed and then uninstalled PluralEyes because it was crashing everything.


    Can anyone help me figure out what is going on?



    0 0
  • 01/08/19--12:45: Re: Clips freezing
  • JaredB,

    Got this working yet? Let us know.




    0 0

    Hi Onilvehs!

    I think this link would be helpful. You can export a screen grab of the preview window by following these instructions.

    Export a video frame from Premiere Pro

    Screen Shot 2019-01-08 at 12.46.25 PM.png


    Let me know if this helps!


    0 0

    You got it, Jim ... and excellent comments about mixed codecs too.


    A big topic in a number of aisle-way discussions I was in at last NAB was about whether Adobe's designers should give up the "we take everything" premise for working with codecs, and just build a version really designed to fly hard & fast with a more limited list of codecs. Saying ... you can try anything, but ... it will run most stable and fast if you use X listed codecs.


    And t-coding long-GOP seemed to be a good idea for most folks talking.



    0 0



    I am attempting to animate some text but am unable to do so as all of my animation controls are grayed out and do not respond to clicks. I created the text in the text tool. Any suggestions?

    Screen Shot 2019-01-08 at 2.46.29 PM.png

    0 0



    I marched SCV in the late 70s/early 80s.

    A drum corps problem in search of a solution.


    Let me know how I can assist you with this, or any BLOO related project. PM me if you like.




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