The kind of X you are seeing usually appears when applying a demo-version of a transition of an effect. Are you sure you are not using some third-party transition pack that you simply haven't bought yet? Try using the standard cross-dissolve and report back if the X remains with native transitions. Cheers!
There is a 3-step solution-
Insert an empty caption in the beginning
Move captions to 0 mark of your sequence
If you hold CMD/CTRL while dragging out the end of a caption, it ripple-shifts all the captions after it. So just grab the tail of first, empty caption and extend it to the mark where the text should begin
There is no way to "bypass" long render times. After-Effects needs to calculate where every pixel has to be and then pack all this information into a container such as .mov or .mp4. However, you can speed up render time by enabling hardware-acceleration in the settings of After-Effects. You can also increase the amount of RAM allocated to After-...
The best way in Premiere is to use "I" and "O" to set ins and outs as you scroll through your Source. Then for each in and out, use command (ctrl) "U" to create a Subclip in your Project. Then when you drag all those Subclips from Project to the Timeline, they will lay down in the order they were clipped and you can move them around as needed.
It is possible to take a similar approach like you would in photoshop. I recommend using After-Effects, as premiere doesn't really have the abilities to do so effectively. In After-Effects, you can try out the "content aware fill" that was introduced in 2020, I believe.
However, content awareness only works in some cases, and when trying to ...
You could try using the Repetile effect in After Effects.
This extends and repeats a layer based on certain rules - in this case I'd try unfolding or flipping it, so you see a mirror of what was on the other side. Maybe do a gradual blur around the whole frame too, so it is less noticeable.
Florian's answers are likely to give better results but take more ...
There isn't a way to do it per se but there is an easy workaround:
Select all clips with the outdated effect
Right click and remove attributes
Select the effect you want to update and remove it.
Then copy the clip with the updated effect and right click all other clips again to paste attributes.
I use long workaround in Premiere and it works for all sorts of stabilizers not only for warp (I use 3rd party).
What I do is masking out unwanted object. But you cannot do that on same clip, since Premiere will serve naked frame to the stabilizer tool. So what I do is put some effect on clip that masks moving parts. It can be title, power window, crop, or ...
Basically what @Amer said plus for a shortcut there's an app that can 'downgrade' your project online - http://joshcluderay.com/downgrade-premiere-project-converter/
the trade off is, it always sets the version to 1 so 'some' effects and attributes might be lost in the process. I found that for your everyday editing this doesn't affect anything unless you're ...
Here's a dirty yet maybe effective method:
Create an adjustment-layer above your two video tracks, that goes from start to end.
Select all your pink labels and drag them up, effectively replacing those parts in the adjustment-layer.
Delete your still selected labels
Pull down the bits of the adjustment-layer into your main clip and delete them.
If I were ...
If you need to apply the same effect to a whole clip, you can use Master Clip effects:
That way, you apply it to the file, and any clips from that file that you place into a sequence will have the same effect applied. If you need to adjust it, you only need to do it once to the master ...
You can't expand any panel to full screen in Resolve 16 like you can in Premiere Pro. You can expand the viewer to full screen with cmd/ctrl-F, and on the color page you can also get different viewer expansions with alt/opt-F and shift-F.
Beyond that, if a panel can be hidden, it's listed under the Workspace menu->Panels in Workspace, or by simply ...
Something like this is usually not done in Premiere, since it involves motion-graphics that are way easier done in After-Effects.
If you have to do this in Premiere though, the only way to make sure that - the two smaller pictures for example - align perfectly on their vertical axis is to take a look at their position and put in the same value for the x-axis ...
The action you're trying to perform is called “stabilization,” which is usually performed by analyzing the entire frame when the goal is to eliminate camera shake, but when you want a single object to stay in place, you'd track a single point, or small area of the target, and apply the same counter-movement that you would to eliminate shake.
In AE, point ...
Replicating an accurate VHS-look is a complicated profession, but if you are not worried about the technical accuracy you could emulate it like this:
Create a solid called "Displace-Map"
Apply turbulent noise to it
set the scaling to something huge in the x-axis and something reasonable (100%) on the y-axis.
alt-click the stopwatch on "...
You cannot do this with Premiere.
The media info of the recording tell us that you need a maximum video bitrate of 0.108 Mbps to achieve 15 Mbyte. However Premiere's smallest available bitrate is 0.19 Mbps which would yield a 23 Mbyte final video (including the audio) in theory which is pretty close to what you see. As far as I know you cannot get below that....
Take a look at using noise turbulence to displace the image. You can do this in after effects. There are lots of good tutorials on it. I recommend this one:
Maybe add some images so we can see what you have and what you’re going for.
Without seeing the tutorial, it's difficult to say exactly, but I think what is happening is that the colour matte nest that you've created, is being used to control the blur on your other layer, probably by being set to being used as an "alpha matte". If your colour matte layer wasn't nested, I think Premiere wouldn't be able to see the alpha ...
What you are looking for are lossless codecs. Export with the exact same settings that your footage was recorded in, but use a codec such as Prores4444xq or DNxHD, with no subsampling and 16 bit video-depth.
The problem that you won't be able to easily fix is the missing parts of the right hand in the foreground layer. But if you're ok with that there are a couple of ways to do this shot.
First you could key out the white part using a colour key effect. This is going to be problematic, because there are white parts of the image that you want to keep, like the ...
Just in case, you want to copy the files afterwards somewhere: You could convert the project to a team project, if not already and use Edit->Team Project...-> Media Management to copy all files to a shared storage.
But for a plain list you best go to File->Export -> Final Cut Pro XML. Make sure you haven't selected any clip in Media browser, ...
Hotkeys inside premiere are only available if they appear in the shortcut-list. However, you might be able to use an external program such as macro recorder to bind certain actions to a custom button / button-combination.
(i do not own macro-recorder btw and have not tried it for myself. I only heard that it works well with premiere.)
I don't think you can. Try using the Lift and Extract functions instead of cutting using the playhead position.
Set the In and Out points using I and O
"Lift" the section you want to remove using ; if you want to "lift" it (copy it, leaving a gap in the timeline)
Or use ' if want to "extract" (copy it and ripple the rest of the ...
Yes, well not for zooming but for maximizing and restoring the panel. These shortcuts may look different depending on the keyboard layout. On English layouts it's ` for the active frame, which is the frame with the thin blue border drawn around, and Shift+` for the frame under the cursor. The ` character is called acute or backtick.
If you use another ...
Yes, your observation is correct and everything works fine. Even if settings are identitcal, the file hashes will always be different.
The reason is quite simple: XMP metadata which is embedded in the files.
Such metadata entries which are often different are:
time stamps (not only the date but the time too)
There are 2 solutions:
Create a sequence with all assets that have not been used so far, but which you would like to keep. Next, use the Project Manager to export all relevant files to a new location (your archive) and have "Exclude unused Clips" checked. You may choose to do 2 exports: one with all the sequences for the main video except the ...
As mentioned in the comments, I realized that Premiere Pro was the wrong tool for the job. Thanks to Florian I got started with ffmpeg.
For the sake of any future users who might want something like this, I thought I'd share my solution.
The following Command helps me convert my wmv source file to mp4 with a png watermark in the bottom right corner and the ...
I would do this physically. Print the images out, tear them up, scan the teared sections. Then introduce the teared sections using key-framed masks with the original sections. I can't think of a way of doing this that wouldn't be time-consuming...