This happened seemingly out of nowhere. I was watching back the final edit of a project when all of the overexposed portions of the video were blacked out. I have no idea what caused it or how to fix it. See attached screenshot.

For reference, I am working on a 2015 Macbook Pro on High Sierra 10.13.6. Video was shot on a Fuji X-T3 camera, 4k 24fps, 400 mbps, 4:2:0 10 bit, H.265 files. I used Apple ProRes proxies at 720p. The blacking out was not present when I started (and finished) editing. It came up during final playback, at which point no fix I tried (resetting the color correction, deleting Lumetri from effects, rendering, deleting the timeline and starting over) was able to correct it.

Steps to Reproduce Bug:

1. Open a Project

2. Open another project

3. Look at your screen

Results:

Multiple projects are open and it is very difficult to understand which project is which. It is much too easy to close the wrong project or affect an asset in the wrong project. Many users complain that the workspaces also change when if this is a workflow you want people to use then the workspace should stay the same throughout. A few suggestions:

1. Let the user disable this feature. It does not make sense for all of your users.

2. Make the highlighted/active project very obvious. Drop the other project into the background by maybe greying it out.

Expected Results:

A more obvious workspace.

I've been posting about some significant bugs and wishlist items (most needed one IMO is an overhauled Warp Stabilizer, but another one is more stable handling of render files) in the past week. I just finished expressing my sentiments to a fellow frustrated user about how Adobe's Creative Cloud suite COULD be the best in the industry, if only they would figure out these problems and start advancing things more, better and faster. The potential is there, but I feel like it's not being pushed forward as much as it could and should be.

So can anybody from Adobe please tell me... What's the plan? Is there any significant overhaul coming that will seek to actually polish Premiere up to the level it really ought to be at in 2018? What's being introduced in the next version? What's being fixed? Will we ever get a "Warp Stabilizer 2" or 3 or 4, etc?

Generally speaking, Premiere 2017 and 2018 have been very marginal upgrades. But I feel like Premiere needs its "Final Cut X" style leap forward. Maybe not so much in terms of layout/visual design, because that's aspect is fine. But just in terms of functionality, features, smoothness, etc... Premiere feels like it's really lagging on development in these areas lately. Another marginal upgrade for 2019 isn't going to cut it.

So what's going on? Please let us know.

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。

You have added Lumeri, it looks like ACR, but why does it not work properly?
Yesterday I made one video after a long time of absence in the premier pro and decided to test how this relatively new tool works.
well, it works disgustingly.
I had a video of a landscape which contained shadows and the sky. when I tried to draw out the shadows, it would take the sky mid tones, why? ..
I threw this video into Photoshop to do the exact same actions, and I got what I wanted from these pens very quickly, because the shadows touched only shadows, light only lights, etc.
when I tried to lower contast also, it made a strange effect harder than in ACR. too harsh.
etc.
if this is some kind of new "view" of colorfilters, can you just add ACR as a filter?
because it really saves time and works as you would expect from it.

Please allow the user to be able to select “same as source” audio channels in the export settings of both Premiere Pro and Adobe Media Encoder. This is to allow fixing the audio channel mismatch error you might get when working with proxy workflows. The reason I am requesting this and hoping to get it upvoted is when we receive footage shot across a wide variety of cameras, i.e. Canon C300 / GoPro / Drone / Canon 5D / Other various cameras that may be using different channels other than “Stereo” or even switching the channels halfway through a shoot card, then creating proxies is extremely difficult as you have to then manage the export settings across all files versus just batch encoding all the files based on source. This is a very large problem for me when I receive 1-2+ TB of media shot across various media and therefore my workaround is to use Davinci Resolve to export. Would love to start keeping this all in Adobe at some point. Thank you for your support.