When synchronising large amounts of audio and video, working solely from the timeline or creating merged clips one-by-one is messy and tedious. Ideally, it should be possible to automatically synchronise media from a bin or the project panel, so a pile of separate audio and video becomes a neat list of synchronised merged clips.

Avid has this sorted with their AutoSync feature, which has existed for years. (https://www.youtube.com/watch?v=T4frJqkc5EI) This feature looks and works much like Premiere's existing 'Synchronise' option, except that rather than synchronising media on a timeline, it acts on media selected in a bin, and creates synchronised subclips from that media.

Premiere **almost** has this feature. Selecting a number of audio and media files in a bin, right clicking and selecting 'Create Multi-Camera Source Sequence' does allow the user to turn a bunch of audio and video files into nicely organised and synchronised media - even moving the original media to a 'Processed Clips' bin to keep the project tidy, but the resulting clips are obviously multicam sequences rather than merged clips.

Many editors choose to then edit with these multicam sequences, though this is less than ideal, and requires work to clean up before delivery (https://blog.frame.io/2018/05/14/premiere-batch-syncing/)

If I want to create merged clips from these sequences, I have to drag them into a new sequence, flatten the multicam sequences, and then go through one-by-one and create merged clips. This is only marginally faster than creating merged clips one-by-one in the project panel, but at least I don't have to figure out which audio file goes with which video file by hand.

Ideally, Premiere would offer an option that works exactly like 'Create Multi-Camera Source Sequences', except that the resulting media is merged clips rather than multicam sequences.

I'm working with a high volume of SRT files for importing subtitles (open captions), and I currently have to manually adjust the type style every single time I do so. A couple potential solutions that would make this way more manageable:

1) Presets. There's currently no way to create/apply a style preset for captions — all SRT imports will simply default to the unchangeable default set by Premiere. This would be manageable if there were a style dropdown with the option to save presets, much like in the Export Media window.

2) Change Defaults in Preferences. There's currently nowhere in Preferences where you can choose default caption style settings for new or imported captions.

3) Copy/Paste caption attributes. The ability to copy/paste type style from one caption file to another (much like the Paste Attributes option) would be extremely helpful.

Setup:
Windows 10
PPro 13.1.3
Blackmagic RAW v1.5

Editing a feature that was begun on OS X PPro 13.0.1 and just migrated media/project files to a faster Win10 machine. For various reasons, had to do something I rarely do and that is upgrade to PPro 13.1.3 mid-project. Using the new BRAW codec for Premiere, I unlinked from the transcoded ProRes files I was previously editing on and linked media directly to the braw files directly taken from a BMPCC4K camera.

To my horror, all my sequences and synced clips of the entire movie are off by up to 1.5 minutes. Timecode displayed in my Program Monitor are DIFFERENT than the timecodes in my footage bin (i.e. "Media Start").

I've since read many of the posts here and elsewhere and see there was a problem with recent versions of Premiere in misrepresenting timecode, which is absolutely baffling.

I tried a workaround suggested to make a New Project and use the Media Browser to import clips and/or sequences from the older project. Did not work for me.

Okay fine- proxy/transcoded workflow, migration from Mac>PC, upgrading in the middle of a project, lots of variables, right?

So... keeping it simple I tried making a New Project in Premiere 13.1.3 and via media browser importing several BRAW clips into this lean, brand-new project. Checked the 1st frame of each clip within Premiere. Also, using the BRAW Player v1.5, I opened the same clip(s) to compare side-by-side.

Starting timecodes are ALL different in Premiere varying between a few seconds to minutes while viewing the same files!

What is going on? It can't just be me.

I don't feel comfortable proceeding if Premiere is STILL displaying/reporting the wrong timecodes. I will eventually be needing to do some roundtrips and handoffs to others so incorrect timecode is inexcusable. I'm devastated at the prospect we may have to re-sync and manually reconform all our edits, since the previous timecodes are useless.

TL;DR
Reconnected a large project in Premiere only to find all clips suddenly out of sync with externally recorded audio. A much simpler test (see first comment below) shows that Premiere 13.1.3 is "making up" a false timecode while BRAW Player & Resolve report the correct timecode. Any kind of conforming will be next to impossible until this is fixed.

I love being able to color code my clips, and to have the flexibility to choose my own custom label colors, but having only 16 label slots really limits my color coding system! Avid Media Composer allows you to open up an unlimited color picker for each clip, and you there is NO maximum number of colors.

I miss being able to label things with detailed categories- ex: Blues for interviews, every subject is their own shade of blue. Pinks for Broll, every location is a different shade of pink. And so on. Glad Premiere has expanded the number recently but I would love more!

In trim mode, selecting additional edit points should be possible using track targeting shortcuts (see the way Avid handles this).

Currently the only way to add additional edit points to the trim operation is to mouse-click to select the extra edit points or to exit trim mode, amend your track targeting and then re-enter trim mode.

Example:

Let's say I have V1 targeted (i.e. highlighted in blue on the left hand side of the timeline). All of the audio targets are turned off.
If I enter trim mode the trim tool will highlight the nearest edit point on V1. That's fine. However, let's say I decide I also want to include the audio on A2 and A3 in this trim. Using my shortcuts to highlight A2+A3 does nothing. The tracks are highlighted but those edit points are not added to the trim selection. This is counter intuitive.

Clip Speed /Duration
rodericv70669741
Jun 25, 2019

Hi. When I open the clip speed / duration dialogue and enter the number 1, for the speed percentage, Premiere Pro immediately changes this to 1.25 and won't let me use the backspace key to change it. Any other number I enter there doesn't have the same effect. Please could you let me know why this is happening and if I can stop it?

Thanks, Rod.
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Correct Answer by Christian_Z1
ACP, Jun 25, 2019

This is is because PP limits the duration of one clip to 24 hours. If PP feels that the clip is long and might risk of going over 24 hours, It automatically limits the value of the speed to whatever reflects a duration less than 24 hours. And it unfortunately does that the second you attempt to type.

In your case, Typing "1", Premiere thinks that you might enter a value less than 1.25 and thus making the clip longer than 24 hours, and so it defaults to 1.25.

Luckily, there is many simple effortless workarounds until a patch is released.

1- When the value defaults to 1.25, keep typing anyway. Type "100" and then delete the other numbers (Press delete instead of backspace)

2- Unlink speed and duration (Click on the little chain that is between them). you will have to roll out the clip in the timeline afterwards.

3- Shorten your clip on the timeline, then try to apply speed/duration.

Kevin-Monahan​ is this a bug or normal behavior?

Both Resolve and Avid have options for relinking clips in one sequence to clips in a specific bin (or bins) as long as timecode/file name etc matches. If Premiere could do the same then we could stop fighting once and for all with the infamous 'duplicate clips' issues that have plagued Premiere for such a long time.

Example:
- A director does a rough selects timeline using native camera files
- Editor begins the edit in a new project using proxy files
- Editor imports the director's selects timeline and Premiere automatically imports the native files as well. This is not necessarily ideal because now I have 2 sets of files in my project when really I just want to be working with the proxy files.

One option the editor has is to 'make offline' the director's sequence and then reconnect the native files to the proxy media. This solves one problem but introduces another in that I now have 2 sets of the same proxy files inside the project with no way of removing the extra copy.

Instead, I want Premiere to give me the option to relink a timeline to the specific bin/bins that contain the proxy files that the editor was using.

In Resolve this is called 'reconform from bin(s)'. In Avid it's part of the standard relinking workflow using the 'relink using media from open bins' option.