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.

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

I have a problem with Adobe Premiere since the v13.1 update.

It interprets video levels incorrectly, not being consistent with interpreting video as Limited Range 16-235 or Full Range 0-255, depending on the codec.

This is making it impossible to do any reliable colour correction work with Lumetri and also is making it impossible to generate reliable DCPs as the video levels are way off.

It will either add too much crush or flatten the image depending on the source. Sometimes affecting different clips differently depending on which codecs with which flags are in the timeline

If there was a feature to manually adjust the way the video is interpreted (Full Range versus Limited Range) in the "interpret footage" for example, and also in the timeline, and on export, this would entirely solve the issue as I could manually control how it is being interpreted.

If I remember correctly, there used to be an "auto" or "data" checkbox when exporting video, which went away several versions ago. A return of this checkbox for export, in addition to the ability to override the existing metadata flags via Interpreting Footage, would solve all of my problems as far as I am aware.

The inability to do this is affecting my ability to make reliable DCPs and also is forcing me to return back to using DaVinci Resolve for any and all colour work.

Premiere Pro does not properly support CinemaDNG media. For starters, not all versions can be imported, specifically the media coming from the Blackmagic Ursa cameras.

But even for the versions that can be imported, support for the format is still lacking to the point of unusability.

The Media Browser will not see all the clips at the same time. We're forced to go into every individual clip folder for import duties. This is untenable.

The RAW controls available are limited to Temp, Tint and Exposure. The controls that are possible and must be implemented are:

White Balance
Color Space
Gamma
ISO
Color Temp
Tint
Exposure
Sharpness
Highlights
Shadows
Color Boost
Saturation
Midtone Detail
Lift
Gain
Contrast

Finally, because we do not have access to the Color Space or Gamma, the footage comes in with a preset "LUT" applied, making the original Log footage unusable.

My iPhone Xs Max footage plays back in Premiere Pro very gltichy and is unusable. Using a third party app such as "Hand Break" to make the frame rate constant instead of variable will make the footage not glitchy. However, it is a very time consuming process to do that for each video clip you want to use, and most of the time you are wokring with lots of video files. If Adobe could please somehow fix this problem that would be amazing. Have edited previous iPhone footage before from later model iPhones and never had this problem. Maybe it has something to do with h.265? Anyways, that would be awesome if this issue was solved! Thanks.

Advertising has changed. My colleagues and I work exclusively within mobile ad formats for Facebook, Instagram, Snapchat, etc. I'd like to see sequence set ups for 1080:1920 and 1536:1920 and 1920x1920 ( 9:16 and 4:5 and 1:1 ) More importantly I'd really like to see a way to work exclusively and seamlessly with h.264 codec across Ae and PPro. We are not in cinema so we really dont' need large file size codecs with optimal resolution. Yes we can convert on export. But our world is an exclusively electronic/in the cloud world. Large projects usually need to be uploaded in their entirety upon completion - not just the deliverables. .... with .avi and prores and animation codecs, these can get huge and troublesome to upload. -even with fiber. :) We are extremely busy and demand with major brands has been fantastic as the planet is flocking to social media to spend their advertising dollar. These features would be very welcome tweaks to incorporate in our workflows. Thank you. Brian Cooney, Owner: BooneTown Social Media Post. www.boonetownmedia.com . PS: We've tried several of the Windows h.264 3rd party codec solutions out there and each one has issues and leaves undesirable and unpredictable results.

I imported a .ts video format into my project, and after rendering the clip, started working on it. I made various cuts, moved around the audio and video, and then exported it.

However, the exported video didn't match the edited clip on my timeline. Different clips ended up getting exported instead.

The length of the clip remained the same, but certain shots that I didn't use ended up appearing in my exported video and replaced shots I did use.

This happened even after I restarted the program, created a new sequence and even a new project. I even restarted my system, but the error kept getting repeated.

I eventually converted the .ts clip into a .mp4 clip, and that finally resolved the issue.
But I ended up wasting over a day trying to figure it out.