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.

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

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.