This is an addition to my previous post. So far i've had fairly decent results color correcting and editing H265 10-bit files from my Lumix S1H. However, certain effects, such as Posterize Time, Neat Video and other temporal effects cause the image to not only have a magenta color shift, but also cause color blotching / artifacting that are not actually there. A color shift would have been one thing that could have easily been fixed with another color correction layer. But blotching / artifacts can't be removed and thus require me to first render my clip to ProRes, before I can add these effects. Full H265 10-bit support needs to be addressed with this system, soon.

I have run into what seems like a very disturbing bug in Premiere Pro. Currently running 13.1.2 on an iMac with OS 10.14.1 and Blackmagic IO card.

I have a 1920x1080 23.976p sequence with Maximum Bit Depth and Maximum Render Quality selected.

I have camera original clips of various codecs. The problem occurs when a camera original clip has levels above 100ire.

When I put a .mp4 based clip with over 100 levels in the sequence the levels are preserved.

When I put a .mov file containing an XDCam 35 codec with over 100 levels in the sequence, the levels are clipped at 100 ire. If I look at the clip in the source window the levels are preserved. I can force Premiere to reveal those over 100 levels by merely applying the Lumetri effect to the clip in the sequence (no adjustments to that effect need be made).

When I put a ProRes 422 .mov file with over 100 levels in the sequence, the levels are clipped at 100 ire. If I look at the clip in the source window the levels are preserved. In this case nothing can be done to retrieve the levels above 100. If I place a Lumetri effect on it, there is no change. If I reduce the levels in Lumetri with any of the tools, the overall level is scaled down, but the overs are not retrieved. Putting a Lumetri effect on the clip as a Master Effect also does not help.

Exporting samples of these clips as ProRes 422 HQ and then inspecting in DaVinci Resolve confirms that what I see in Premiere is in fact burned into the new media.

Using either OpenCl, Metal or Software rendering makes no change.

I have upgraded another similar system to the latest Premiere Pro version - 13.1.5. The only difference I see there is that when I am viewing the ProRes clip, if I press play, the clipping goes away. When I press stop, the clipping returns. But when exported, again, the clipping is burned in.

I would like a simple, effective way of consolidating an edited project. Quit forcing me to conform my footage to a single format!!!!.

FCP 7 had the option to simply trim and not transcode source material for a media managed backup, and this was available over 10 years ago!!!!!

Why will adobe not add this feature? I could trim the project, and not lose any quality from my source material through re-encodes! I would love to have this as a feature!!!!! PLEASE PLEASE PLEASE ADD IT ASAP!

When working on a project with multiple formats, resolutions and codecs, your Project Manager is useless!!!!

All I get are Audio mismatch errors, unknown errors, and entire original footage clips copied to the backup folder because you are constraining me to transcode all footage to one format that may be incompatible with some of the source material. **** even freeware like MPEG Streamclip can trim without re-encoding.

The Project Manger is the absolute weakest feature of Premiere. I am offering you a simple solution that I feel would make most editors content with the backup performance.

FIX IT!!!!!!!!

Hi there,

After a couple of sessions being assisted by your amazing support staff they advised me to write to you.

I work a lot with VHS and older formats. Because Premiere doesn't recognise the Mpeg4 formats in CC18/19 I now have to convert my VHS footage to ProRes in order to keep the sync and have playable video. This isn't too much of a hassle. However, I would plead to Adobe to please not ditch the function of capturing from tape in future versions.

Many of us who use older formats really depend on this ability to ingest our VHS, mini DV, DVCAM formats within Premiere Pro. Some of the greatest documentaries from recent years would not be the same without archive footage. And being able to ingest these old tapes is paramount to an efficient workflow. Furthermore, a lot of artists like myself also use this method for a variety of different projects.

I would please ask sincerely that you keep with this function and continue with your great support.

Many thanks,

Matty

Recently, recording on tapes has decreased, and recording on cards has been increasing rapidly.
In particular, it is often recorded in AVCHD.
However, AVCHD is very cumbersome because multiple clips are stored in one file.
I can not handle clips as single files. There are several disadvantages associated with this.

1. It is inconvenient for delivery because the clip can not be treated as a single unit




2. When migrating projects with multiple editing software such as AAF and XML, file management becomes complicated and difficult to handle.




3. It is very confusing because each card has a clip with the same name (such as 0001.mts).
   It can not be renamed because it is stored in the AVCHD package.

It is difficult to manage files in various situations.
Also, if it is rewrapping, since the codec inside is not converted, the file size does not increase and it is easy to handle.
If rewrapping is possible, many disadvantages will be solved at once.
I hope you can use this feature.

AVCHDの素材を、他のフォーマット（MOVなど）にリラップしたい。
最近ではテープでの収録が少なくなり、カードでの収録が急増している。
特にAVCHDで収録することが多い。
しかし、AVCHDは、複数のクリップが一つのファイルに格納されていてとても扱いにくい。
クリップを単体のファイルとして扱えない。これによっていくつものデメリットが発生している。

1.クリップを単体として扱えないので、受け渡しに不便。

2.AAF・XMLなど、複数の編集ソフトでプロジェクトを移行する時、ファイル管理が複雑になり扱いづらい。

3.カードごとに同じ名前の（0001.mtsなど）クリップが存在するのでとても混乱する。
　AVCHDパッケージの中に格納されているため、ファイル名の変更もできない。

様々なシチュエーションでファイル管理がしにくくなっている。
またリラップであれば、中のコーデックは変換されないので、ファイルサイズも大きくならず扱いやすい。
リラップが可能になれば、多くのデメリットが一気に解決する。
ぜひ、この機能を使えるようにして欲しい。

I'm sharing this idea from another user, Niko Pueringer (thank you, Nick!), as there's no need to rewrite this. If you do a quick Google search, you'll find that several users are in dire need of this feature...

From Nick's Post:

There are only a few things holding back Lumetri from being a perfect powerhouse for my coloring workflow, and the inability to batch change specific RED metadata changes has been my biggest challenge when coloring R3D files in Premiere.

There are a lot of situations where I need this. For example, if I want to change the gamma space of my footage without affecting individual ISO settings or white balance. This is vital for using LUTs!

There is also no way to batch reload RMD settings for the footage in my project. Using another program to tweak metadata becomes unviable.

In the past this was possible, but now it's broken!

Past method of batch reloading metadata:

Select all the clips in the bin.
Disable Masterclip settings.
Right click on the group of selected clips, go to "source settings".
Click "Reload from RMD", and it would do so, shot-by-shot, based on each shot's RMD settings.

This no longer works. Now it breaks at the end. It loads the settings of the ONE shot you right-clicked on, and applies that to EVERY clip selected.

None of this would be necessary, nor would I have to turn to an external program, if I could selectively change metadata settings (like white balance, ISO, gamma space) for a batch of selected clips without overwriting the rest of the settings.

DaVinci handles this by giving you the option apply only the changes across the selected clips.
Redcine handles this by letting you save a look preset, which contains a list where you can check on or off the settings you wish to affect.