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.

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!!!!!!!!

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。

PPro is recognizing my footage as Variable Frame Rate (see this in footage properties).

File Path: X:\20120229 TR2016\20181204 FFR Fluid Fuel Reactors eBook\Gord Pimping FFR\IMG_2042 Gord **** FFR AirPodMic 4K MoviePro.mov
Type: MPEG Movie
File Size: 1.38 GB
Image Size: 3840 x 2160
Frame Rate: 30.00
Source Audio Format: 48000 Hz - compressed - Stereo
Project Audio Format: 48000 Hz - 32 bit floating point - Stereo
Total Duration: 00;08;47;27
Pixel Aspect Ratio: 1.0
Alpha: None
Video Codec Type: HEVC 4:2:0
Variable Frame Rate Detected

...however unlike other Variable Frame Rate clips shot in H264, I'm NOT shown a Variable Frame Rate Mode for this HEVC clip.

I have test-clips here...
https://drive.google.com/open?id=17FKB7klRU9Vrv51-l5tzg_quAPA55uBw

...including "thru MediaEncoder" showing the short clips appearing in-sync and long (2042) clip going out-of-sync.

But the best sample is the big one...
IMG2042 Gord **** FFR AirPodMic 4K MoviePro.mov
https://drive.google.com/open?id=10S-GE85pW0uU6c18IpT2qmXNtsYgDOd

...on my PC playing the raw footage starts skipping around visually throughout (mostly showing first few seconds) and is obviously out of sync by 13 seconds.

I don't expect perfect in-sync on my PC, but I can't even edit with it... there's no amount of time that will resolve a frame in the middle of the timeline correctly. Not even a bit out-of-sync, it just repeats frames from start of clip.

I've received help in the forum...
https://forums.adobe.com/thread/2585643

...and note comment...
Ann Bens - Jan 19, 2019 11:01 AM
"My machine is more powerfull then yours but it cannot handle the 2042 clip; ... Does not play, stuck on first frame, audio runs."

...that is my exact experience too.

SABERTOOTH X79 Rev 1.xx
BIOS by American Megaternds v4801
CPU Intel Family 6 Model 25 Stepping 7
i7-3970X @ 3.5GHz
Socket: LGA2011
65536 MB DDR3 @ 1333 MHz
nVidia 1080Ti

Mercury Transmit DISABLED.
CUDA Mercury Acceleration ENABLED.

For now I've used Handbrake to transcode to 1080P H264. (Handbrake and VLC can interpret the clip fine.)

It seems PPro supports HEVC and PPro supports VFR... could PPro please support both in combination?

Premiere pro is already able to load DNxHD Op-Atom MXF files, but it links audio to video for each instance of the file. For example; FILEA01, FILEA02, FILEA03, FILEA04, and FILE_V01 will all load into the project browser, and each will include 1 video track and 4 audio tracks. Honestly, we don't mind that, as it's helpful to have everything connect while editing.

The issue is that at the moment Premiere cannot read the correct timecode from Op-Atom MXF files. Perhaps there is some inherent difference in how Op-Atom and Op-1a files are created, but for whatever reason all Op-Atom MXF files come in with timecode that starts at 00:00:00:00.

If you use an avid .aaf file to import, Premiere recognizes that there should be different timecode in the video track, and says that the video track is missing.

Furthermore, the file will display non-drop frame timecode, even if the original clip is supposed to use drop-frame timecode.

The original timecodes were verified using a trial media composer software as well as Davinci Resolve. Only Premiere has an issue with the timecode.

Why is this feature important to you?

We deal with a big client who creates files from a Cinedeck MX 4.51:

MXF File details:
Wrapper type: MXF-OP Atom (type: N Tracks 1 SourceClip)
File generated by: Cinedeck, Cinedeck MX (4.51.13340)
Compression ID: DNxHD 1080i SQ 8-bit
Effective Video Bitrate: 145 Mbps

It's extremely important that we're able to use timecode that correctly matches the original files that are stored offsite and are also used in avid systems at another post house.

Obviously Premiere can cut the files fine; the only major issue is that the timecode does not come in correctly. We would be extremely grateful if Premiere could do this!

Why there is no high quality H.264 encoder within Premiere/MediaEncoder?

x264 provides much better quality at same or even lower bitrates.
This would make it much easier for encoding to webservices without losing so much quality and using so much bandwidth.

This is must if you are directly sharing files from ME to your website. Almost every proper videohosting site (Netflix, YouTube, Vimeo etc) encodes their H.264 complaint videos with x264

If you are going to add this encoder, please make sure it actually is to specs according to H.264 standards.

If you want easy way to see difference, just put ProRes HQ video to Handbrake and play with settings, you will notice.