Current Behavior: Whenever you import a long R3D file Premiere automatically groups the smaller "spanned" clips into a larger clip. If you import the clip via the media browser it works fine because the media browser will hide all but the first clip in a sequence. But if you try to import multiple folders(multiple cards, or days of footage.) Premiere will still group the clips, but it creates a full length master clip for each of the parts the the file was split into causing tons of duplicate clips.

The only work around is to manually recreate your folder structure using bins in premiere and go through each card one by one importing them into bins, or go through and delete all the duplicate clips after importing the usual way.

Expected behavior: When you import a group of spanned R3D files premiere will group them into a single master clip and not create a duplicate master clip for each file in the sequence.

This is a huge waste of time for anyone working on a large project using Red cameras. This problem has existed since at least 2013 and seems like it should be a really easy fix that would save RED users so much time.

I stopped editing for several months and recently came back to it. What I noticed is that Pr seems to have some issues importing the same types of footage that it previous had no issues with: 4K/60 h.264 files that are 5-6GB in size. Previously, Pr would just import them in with no issue. Now, Pr seems to lock up during the import, and again when I try to put that footage on the timeline for the first time.

During this "lock up", one CPU core from my 7900X is pushed right to 100%. The rest of them are at or near idle. It's a different core each time that goes to 100%, but it happens every time.

System:
Windows 10 Pro v.1903
Core i9 7900X OC'd (and water cooled)
2 x nVidia 2080Ti GPUs OC'd (and water cooled)
64GB DDR4 OC'd
SSD pairs in RAID0
HDD pairs in RAID0 (7200 RPM)
Scratch space on an M.2 drive

None of the resources are being taxed except that single CPU core. If there's any other info I can provide that might help get to the bottom of this, let me know!

Just like you can re-link a file to one with different timecode than the version in the project, you should be able to re-link a clip to a file with different audio channels than the original. Just like with TC, if there is 4 channels in original clip and one user wants to use only has 2 channels, the slash marks simply appear in channels 3 and 4.

Sure, warn the user, but sometimes this is just nessecary when a mistake was made in transcode... or you're relinking to colored files, and colorist didn't export with 4 audio tracks (and you're not even using the audio from original files because that one is coming from mixer...) Trust the user to relink to the clip they want.

Just like you can re-link a file to one with different timecode than the version in the project, you should be able to link a proxy file to a master clip with different audio channels than the original. Just like with TC, if there is 4 channels in original clip and proxy clip only has 2 channels, the slash marks simply appear in channels 3 and 4.

THIS IS IMPORTANT because the H.264 spec only supports 2 channels. ALMOST ALL CAMERAS shoot with 4 channels. H264 is IDEAL proxy format if you're taking project to edit mobile (ie to the beach) or especially to transfer online to an assistant. So, effectively, this restriction does not allow h.264 proxies to be used, which is dumb.

Say you're doin' a bit of editing, and you've got yourself in a bit of a pickle and realise you've left a beautifully cut sequence in an older project file. You go and import the sequence from the old project and then BAM, it has imported the rushes AGAIN! WHY!

So here's my idea, when something like this happens, it would be absolutely magic if we could say select the imported rushes folder and the rushes folder that was already there (matching of course), and then right click and hit a button (something like "Merge Imported Files") and it will bring up a dialogue box allowing you to choose which import takes priority. This would help avoid duplicating files in a project and other things.

Many thanks in advance for your opinions.

This idea has already been posted here:

https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/33974281-do-not-duplicate-media-when-importing-a-sequence

The admin say it has been fixed but it has not. When working with multiple editors on a single project, If we import a sequence that uses multicam or nested sequences, the newly imported sequence also duplicates all of the multicams it uses. This is highly inefficient and not a good workflow for working with multiple editors. especially in a large project. Currently happening to us on a documentary that uses over 70 multicam sequences. It takes days to replace all of the duplicate material to ensure that the correct sequences are being used.

Please fix this issue! I never had this issue before the last update, or maybe two updates ago. It's new within the last few months.

I have an Inspire 2 Drone and have shot footage with it for over a year now with no issues. Recently when I try to import the footage into PP CC SOME of the files... not all... randomly give this "The file has no audio or video stream errors.". The files look fine. I can play them in ANY type of video player. There is no reason PP shouldn't work with them. This is a major PITA as I now have to open them in a converter and then re-save/generate them for PP to work. Please fix!

At our studio, we use Dropbox to store smaller files such as audio and stock video. With Dropbox's new Smart Sync feature, all of the files are listed by name in a folder's Finder window, even if they are not synced locally. This can cause an issue when another editor is opening the file on a different system that does not have all of the media synced locally, and Premiere will freeze during the "Locating Media" step of opening a project.

For example, if an editor has downloaded ten different stock video clips but uses only one in the final cut, the colorist on a different machine would need only the one stock video clip to be synced on their machine. Normally, the colorist could chose "offline all" for the unneeded media, but with Dropbox's Smart Sync, all of the file names are listed, so Premiere seems to "locate" them, but without actual media synced, there is nothing for it to locate and Premiere freezes.

Can Premiere be taught to deal with cloud-only Smart Sync files?