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    I have the same question as this thread: How do I set my timeline to 60FPS only the solution posted there does not work for me.


    Timeline time code.JPG

    I am trying to get the circled number to display the actual frame number.  It displays 30fps, and if I scrub using the arrow keys I have to press twice for that number to change.  So it is recognizing all 60 frames in my footage.


    The footage I'm editing is from a Samsung Galaxy S9+, which apparently records in variable framerate.  I recorded with HEVC turned off, so it is H.264.

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    Screen Shot 2019-01-13 at 2.59.12 PM.png

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    Are those installed in your system?


    I think you are viewing mogrts that would need to be installed by clicking the icon in the lower right of the EGP browsing panel.



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    Using Premiere Pro CC, which I downloaded a few weeks ago, to my PC. I'm a pretty new user.


    In the Effects Control Panel, when I click on the left or the right pointing triangles, for instance position fx, the blue line head marker for that clip (in my case a 6 second still photo) the blue line goes not to the effect marker but past it to the previous photo and stops at the beginning of the cross dissolve band.

    I'm frustrated because up until yesterday it did not do that.

    Normally, it would go to the gray diamond marking the change of position beginning or ending.

    I've looked for discussion, looked in the manual, and looked at my preferences.


    Further, several times it has gone way past and found a photo two or three earlier in the clip.

    Basically I have dozens of photos, with cross dissolves of 30 frames. I am manually entering a "Ken Burns" (scale and position changes) effect in each one depending on my photo layout, subject etc.


    My first Post, I hope I'm doing it correctly...

    I think I may have changed a setting that I don't know about??




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    Hi Neil,


    Thanks for the help,I've installed mediainfo and made a screenshot, it looks like you're right about the bitrate. Looks like it's made with a google pixel phone:

    Schermafdruk 2019-01-13 20.28.18.png

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    ***Copying an SD Card


    There are a handful of things things to consider when it comes to how or even if you copy source footage from a camera's memory card (be it SD, P2, SxS, XQD, AXS, SR and so forth) and with most things in video post production, they're informed by what you need for your edited master.


    Is the camera native source footage going to be used in the Timeline or is it going to be transcoded to a mezzanine CODEC for editing?

    Is the footage on the memory card just for the current project or does it contain a footage for multiple projects?


    If the footage on the SD card is for just the current project, I prefer copying the entire SD card; however, if it contains a footage for more than one project, I prefer to use the Media Browser in Adobe Media Encoder to select the clips needed, add them to the AME Queue, and then set the "Media" folder for the current project as the destination for the transcoded media (and I usually transcode to Apple ProRes422 LT or Apple ProRes 422 HQ, but any mezzanine CODEC will work).  Of course, don't wipe the SD card until all of the transcoded footage has been checked.  If the project is quick turnaround for social media, I don't worry too much about archiving the camera original footage.  If it's anything else, (documentary, informercial, commercial, television, cable, scripted of any sort, training video, or whatever), I treat the camera original footage like it's gold.


    Premiere Pro, of course, has options for handling footage on a memory card in the Ingest tab of the Project Settings window.



    ***Using USB3


    As a freelancer, I've completed more projects than I can count on external drives (from back in the days of SCSI to FireWire to USB3 to Thunderbolt - USB2 was always too slow, even even during the heyday of DV-NTSC).  If I could wave a magic wand and make high capacity, high bandwidth storage available on every workstation or laptop, I would.  (Better yet, if I could make SAN storage available to everyone editing video everywhere, I would.)  As with internal storage, as long as the sustained data transfer rate of the storage media exceeds the data rate fo the edit settings, you're good to go.  There's also making sure that you don't leave important files behind when moving from workstation A to workstation B, but that's something that's relatively easy to learn.


    I'd have the lab users opt for USB3 mobile SSD drives first (or the newer, high bandwidth USB3 Flash drives - just be certain that the read and write speeds are what's needed for the edit settings).  If the project is 1080p, standard USB3 drives will work.  If the project is 2160p or larger and the chosen storage media, whatever it is, isn't fast enough for the native or transcoded media then Premiere Pro's Proxy workflow can be used.  (Side note:  The main thing that I would change about PR's Proxy workflow is being able to start with the proxy files for a more traditional offline/online workflow instead of the high resolution files, but that may never happen.  As Adobe Sensei gets more integrated into Adobe applications, it would also be great to have artificial intelligence comparing proxy clips to high resolution clips should they ever need relinking.)


    If the workstations support it and the lab users can afford it, I'd pick Thunderbolt (1, 2 or 3) over USB3.


    Desktop drives and RAIDs can also be used, but if a mobile drive works for the project it is much easier to carry around.


    Most importantly, I strongly encourage students purchase whichever type of external storage they choose in pairs: one is the primary storage and the other is the backup storage.  Then use a utility like Carbon Copy Cloner (Mac) or EaseUS (Windows) to schedule cloning the primary drive to the backup drive on a regular basis (I've always gone with nightly).


    Fonts and 3rd party plug-ins are also something to be thinking about, but this has less to do with USB3 mobile drives and more to do with lab users being on different computers at different times.  On the font side, fortunately Adobe made all of Adobe Fonts (formerly TypeKit) available to Creative Cloud users.  I'm not sure I'd set a rule about only using fonts from that library, but it certainly minimizes down time due to missing fonts.

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    I have a timeline with mixed colorspace, some clip are HDR in REC2020 and some clip are in SDR REC709.


    I export the timeline in x265 main10 HDR. HDR content look great on an HDR TV, but when SDR content is show it look really bad. White are almost grey and black look like charcoal. I would guest I would need manually tell Premier pro 2019 to expend SDR content to HDR color space. I'm I right? How could I do this.



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  • 01/13/19--12:01: Re: Lumetri Color Issue
  • Yeah, that's what I click on and it gives me a Lumetri Scopes section on the left and a Lumetri Color panel on the right. Can't seem to do anything with the scopes and I can't find an option in the Color panel to adjust the brightness/contrast.

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    The place to do it would be in the Sequence Settings (Sequence > Sequence Settings...).


    You might need to change the "Editing Mode" to "Custom" first, but you want to change the Timebase from what it is currently to "60.0 frames/second".

    Screen Shot 2019-01-13 at 12.11.01 PM.png

    Having to press the arrow keys twice to advance frames is a sign that you're working at i30. While you're in the Sequence Settings dialog box, double-check that the Sequence is progressive and not interlaced [Video > Fields: No Fields (Progressive Scan)]. 

    Screen Shot 2019-01-13 at 12.11.01 PM 002 copy.png




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    When on the Color tab and applying a LUT it crashes and gives the error shown in the picture. It might work the first time or so but then its guaranteed to crash after a few minutes.



    Premiere Pro CC 2019 - Version 13.0.2 (Build 38)


    i9-8950HK @ 2.90GHz

    GTX 1050 Ti MaxQ

    32GB DDR4-2666MHz


    Thanks for the help.

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    I would suggest transcoding that in Handbrake being sure to set the video tab to CFR button checked and set a specific framerate time.


    Also make sure it is set to the same pixel dimensions as your media and the quality items are to near placebo so it doesn't increase compression.



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  • 01/13/19--12:56: Re: Lumetri Color Issue
  • Go to the menu Window > Workspaces > Reset to Saved Layout.

    Does this help?



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  • 01/13/19--12:57: Re: Lumetri Color Issue
  • Video grading apps don't list "brightness" and the scopes show what the signal is, they're not too to change things.



    Start with the basic tab. It's very easy to move the sliders and see what happens.


    Also on my blog there are demonstrations of what those controls do and how to use them.





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    I was talking to a co-worker, and we were fighting about how much time a project had taken.


    Then I brought up the question: What if Premiere had a time tracking function? What if it was an automatic tracker that kept the time of workflow when you were on the Premiere screen, and you could reference that for clients and/or your own use?


    I feel like this is not super important, but it really is so that you have proof of how long it takes for some projects.


    Sometimes you forget to check the time you started, so it's hard to say how long it really does take for longer, more complicated projects.

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    Almost a year since I made this post and I still have the same issue.  It's a pain but it could be worse.  Keep thinking that each update to PR will fix the issue...but no luck.  I guess Adobe can't address every little quirk.

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  • 01/13/19--13:32: Re: Lumetri Color Issue
  • Click where it says "Basic Correction" to reveal the adjustment paddles:

    Screen Shot 2019-01-13 at 11.27.45 AM.png


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    So I shoot on a Canon 1dxii which does 120fps at 1080. Beautiful footage. I film most of the non-Broll stuff at 24fps in-camera.


    When my sequence settings are at 29.9fps in Premier, the 120fps footage plays back perfectly, buttery smooth. But if I set the sequence settings to 23.9fps, to match the non-Broll 24fps footage, the 120fps Broll plays back slightly jittery. What am I doing wrong? I feel like I've tried everything and looked everywhere but can't find an answer.


    Let me know if you can help!




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    Thanks Neil,


    I will try that later on. Why Handbrake? Isn't Adobe Media Encoder (which I have installed) not capable of this? I used Handbrake a long time ago, but I'll find my way if needed.



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  • 01/13/19--13:48: Re: Lumetri Color Issue
  • @Meg the Dog: Ahhhh, there... I didn't realise you could click on those to reveal a drop-down menu.

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