Glitchy, Unstable and Unreliable, can’t render or export with Premiere 2015.3

December 2016: It’s happening again with the 2017 version. Get your shit together Adobe, or you’re fired!premiere2017-errorHi all, I’m having some trouble with exports via Adobe Media Encoder in Premiere Pro CC 2017, I’m not exactly sure how to describe the problem but have attached a screenshot from a Media Encoder export. This error appears to occur on dissolves and footage dynamically linked to After Effects projects. This error does not occur if I export directly from Premiere Pro. I have encountered this error on both my rig (specs below) and a client’s top-spec iMac (2015 27″ 5K). It has occurred on separate projects created on the respective machines.
OS X 10.11.6
Premiere Pro CC 2017 [11.0.1]
Mac Pro (Mid 2010)
2x 3.06 GHz 6-Core Intel Xeon
48GB 1333 MHz DDR3 ECC
NVIDIA GeFore GTX 980 Ti
Anyone else encountered similar problems or can recommend anything to try?

Update Aug 3 2016, the fix is in, be careful folks, test your workflows before you commit!
They did it again, that company that I pay $53.49 every month.
A few weeks ago, before starting a big project (the online of a 3 hour PBS documentary), I upgraded to 2015.3 on my 2 Macbook Pro laptops that I use to edit. I took the option to remove the old version, more about that later.
My project specs are:
3x 53 minute reels with mixed formats ranging from 29.97 XD-CAM to DVCPRO to DV to PAL 25 fps footage on a ProRes-422 Timeline with Previews set to ProRes-422. 1920×1080 interlaced.
All was good the 2 weeks before the job came in on short tests. I liked the proxy workflow, liked the connection to my Tangent panels. etc. etc.
Then the job came in and it all quickly fell apart…
-It didn’t work or was super glitchy and unstable with my Red Giant shooter suite and Universe plug ins, even though Red Giant announced they were 2015.3 ready.
the Lumetri effect was unstable, randomly changed sliders I didn’t touch and, most important, I couldn’t save my presets reliably.
-After each crash there were different inconsistencies with all the edit decisions I made. I kept second guessing myself about stuff I fixed or fx that I did.
-The biggest issue was that after working for 5 days getting this project into premiere from FCP7, I couldn’t render or export!
PR-error-compilingThe stupid new error message that tells me where the render stopped is very unhelpful. Because there is NOTHING I can do to ever render successfully!

I re-installed the old version 2015.2 and re-did the work I did unpaid:
-Of course you can’t open a newer project in the old version.
-I used the video XML’s from FCP 7 to rebuild the timelines.
Using XML out of 2015.3 for video with FX was glitchy and unreliable, created more crashes.
-Luckily I hadn’t worked on audio much so I made audio-only sequences and the “cut’s only” XML out of 2015.3 to 2015.2 worked fine.
PR-open-with-The good news was that having both 2015.2 & 2015.3 open at the same time using the same video output device (in my case a Ultra studio mini monitor) didn’t create any conflicts or crashes!

Dear Adobe, my clients don’t care what software I use to get the job done. If you rush out versions and then force me to stay up all night, unpaid to fix the project, you’re not keeping me as a friend!  I’ve been using Photoshop for 20 plus years and Premiere as my main editing software for almost 3. This is the second time you rolled out a glitchy, buggy version for us  unpaidbeta testers. Please give us a break. I don’t care about any new bells and whistles if you keep breaking your basic functions.

This story has a happy ending, because I’ve been working on a stable system for the past 4 days and just did an export of my fully rendered 53 min timeline, using previews, in 2 minutes! That’s 1/25th realtime!
To me that proves that when software is matched with correct hardware, operating system and project specs, Adobe software can do miracles. Adobe should write more honest workflows like this and focus on keeping out bugs when it rolls out a new release.
Of course my experience is based on a specific machine, but I also work on many PC systems and usually experience the same glitches.
Please fill out the survey below.
FAQ: How to go back from Premiere Pro 2015.3 to Premiere Pro 2015.2
The fix is in, be careful folks, test your workflows before you commit!

Resolve 12.5 not ready yet for video editing.

-No timecode overlays
-No list of previous clips in source monitor.
-No out of sync indicator on timeline. and because of the missing source timecode display, there is no way to put something back in sync!
-Can’t rename clips
-Resolve Cache fills up for no reason, absorbing whatever hard drive space you have assigned to it.
-Absolutely can’t work with compressed files like the ones from DSLR camera’s in H264 codec, in MP4 or MOV. Sometimes video works , but audio for sure won’t.
Resolve only accepts “professional” codecs I-frame codecs like Prores, AVID or Red.
-Only PCM audio, no MP3s.
-Audio dissolves sound horrible, unusable.
-Waveform displays on timeline are unreliable, intermittent or don’t work.
-Message pops up all the time saying you should upgrade to studio version.
Annoying, drives users away!
-Can’t use in & out keyboard shortcuts during fullscreen playback.
-No progress indicators on rendering or cache progress.
-The software is a resource hog, probably works great with 10core, 128GB RAM and dual video cards. It runs like garbage on a computer that can perfectly handle FCPX, Premiere or AVID.

Zero your flash media before important shoots!

sd_card_badWith today’s recordings being written to SD, CF, SxS and SSD’s you have to know one important maintenance trick. Just formatting is not enough because it only wipes the directory, not the entire card!
Flash media can re-assign bad blocks (just like a regular hard drive), but only after you’ve tried to write to them.
Errors in movie files or pictures happen when the camera is writing to media with bad blocks but it hasn’t written there before.
-Always write zero’s (using Disk Utility) to new SD cards immediately after buying it, to re-assign bad blocks.
-Repeat writing zero’s every 6 months or before critical recordings.
Writing zeroes takes about 45 min for a 128GB (Class 10 60MB/s) card with internal Apple reader.
Reformat with the camera or recorder that will be used with the card.
If something goes wrong: turn off the camera immediately, remove the SD card, and “lock” the card (making it read-only) using the physical switch on the SD card.
Immediately copy the card out.

SD-card_storageWhen corruption sneaks in:
1. is it the card? >are card or contacts dirty?
2. is it the reader? >swap it out.
3. is it the destination drive’s file system?
Run a disk utility on the destination drive and fix errors.
4. is it the software or operating system?
Try something else.


SD_CARD_cutKeep track of SD-cards, their age, brand and when they where zeroed last.
If zero-ing the card yields errors, it certainly is corrupt. Throw it out! Or try warranty:
Sandisk, Transcend, Crucial, Panasonic, Sony
Click here to recover damaged files or cards.
For P2 card recovery call:
Unit of Panasonic Corporation of North America Western Region, Address 3330 Cahuenga Boulevard, Suite 101 ,Los Angeles, California 90068, Phone (323) 436-3507, Fax (323) 436-3517 Contact Mr. Fast

Unit of Panasonic Corporation of North America Northeast Region Address 50 Meadowlands Parkway, Secaucus, New Jersey 07094 Phone (201) 348-7975, (201) 392-4081 Fax (201) 348-5200
Contact Mr. Feldman





Storage solution for Photographer and small indie producers.

on a MAC use Rsync

rsync -avx –progress /Volumes/Macintosh HD/Users/Joe/Documents/Data/ /Volumes/Macintosh HD/Users/Joe/Documents/DataBackup/

Another important advantage of using rsync is that it reads all files on both drives effectivly refreshing the data on a drive that is sitting on a shelf.

Verify the integrity of a flash/SD card on Mac & Windows

GPU vs CPU how do they divide the work?

The basic components of an NLE are:

1. Media files stored on an external HD
-Media access speed is determined by: HD speed, Raid level and connection speed to workstation.
2. CPU> decode, encode and calculate non-accelerated effects.
3. GPU>accelerates:
Alpha Adjust, Basic 3D, Black & White, Brightness & Contrast
Color Balance (RGB), Color Pass (Windows only)
Color Replace, Crop Drop Shadow, Edge Feather, Eight&Four-Point Garbage Matte
Extract, Fast Color Corrector, Gamma Correction, Garbage Matte (4, 8, 16)
Gaussian Blur, Horizontal Flip, Levels, Luma Corrector, Luma Curve, Noise
Proc Amp, RGB Curves, RGB Color Corrector, Sharpen
Sixteen-Point Garbage Matte, Three-way Color Corrector, Timecode
Tint, Track Matte Key, Ultra Keyer, Video Limiter, Vertical Flip
Cross Dissolve, Dip to Black, Dip to White, Directional Blur, Fast Blur, Invert, Additive Dissolve, Film Dissolve, Warp Stabilizer

7 steps to render/playback a frame:
1. Frame is fetched from disk.
2. CPU decodes the frame (CODEC has to be properly installed)
3. Frame is modified to an intermediate format and put into memory.
4. If GPU acceleration can be used, the intermediate format is uploaded to the video card for processing.
5. The intermediate results are then downloaded from the video card back into memory.
6. The CPU starts encoding to the final delivery format.
7. The final results are written to disk or played on screen.

A video file gets decoded on the CPU. Performance is determined by how well it is optimized and if it can offload tasks to GPU or not. A lot of codecs on PC call the QT32 process which runs in a 4GB memory space.
ProRes playback is not GPU accelerated. More cores are more important than multiple GPUs, as not all instructions have been written to run outside
the CPU. It’s a common misconception that adding a GPU will
automatically take and run all the regular instructions from
the CPU. Software engineers must write applications to
send instructions to a specific processor before they can
expect speed improvements.
A typical system with eight cores needs 3 GB per core, which equals 24 GB of RAM required by After Effects to run multiprocessing properly.
Although that fits into a 32 GB computer, After Effects may still hold as
much as 6 GB of RAM for other applications, bringing the full
amount of RAM left for After Effects to 24, which is already

close to the limit.

This applies to Windows/PC only:
Below Playback the way it should be: Low CPU load and Disk I/O at the bit rate of the codec. Note the files on the timeline being read in the Disk I/O list.
Now look what happens when playing back a ProRes QuickTime in Premiere on a PC
1. CPU cycles taken up by Premiere
2. CPU cycles taken up by the QT32 process
3-8 The files on disk being read by the QT32 process including:
9 pagefile.sys the Page File it has to keep writing and reading off the drive to compensate for the 4GB memory limit.

Performance Grid: Codecs, Platforms, Wrappers, Quicktime, MXF

I had an aha-moment recently after switching from a QuickTime based project on Premiere, to C300>native MXF. The system was all of a sudden snappy, no stalls, a lot more realtime performance and super fast renders and exports.
My system must have been struggling with something…
A codec that works with low CPU load on a Mac might have a high CPU load on PC.‬ On Mac QuickTime uses the 64-bit AV Foundations framework but on PC Premiere still uses the deprecated 32-bit QTkit framework. Adobe finally wrote an unofficial white paper March 2016 about performance. ProRes is not supported for export on Windows.
I try to remove QuickTime as much as possible from my PC/Windows workflows. But don’t take my word for it, do your own performance tests!
I think MXF combined with PC friendly codec is the authoring format of the future.
Please chime in using the Google form below.

My thoughts:
Below is my (imperfect, incomplete) performance grid that shows what platform and software I try to use with each codec. I usually work on a standalone system. On any kind of collaborative project I recommend transcoding to native Avid media and using their ISIS storage. There is still no match for Avid’s media management especially when collaborating in realtime on a deadline.

QuickTime MOV most codecs ProRes

Arri Alexa

RED DSLR AVCHD H264       H265 in MP4 container. Like GH4 Collaborate with Native Avid Media DNxHD DNxHR Native Sony XDCAM-EX XDCAM-HD XDCAM-HD422 Blackmagic Canon Native C500 C300 C100 5DM2 5DM3 7D
ICO_apple ICO_premiere ICO_resolveICO_fcpx ICO_apple ICO_premiere ICO_resolveICO_fcpx ICO_appleICO_winICO_fcpx ICO_resolve ICO_premiere ICO_win ICO_resolve ICO_premiere ICO_winICO_avid ICO_win ICO_resolve ICO_premiere ICO_appleICO_fcpx ICO_resolve ICO_premiere ICO_appleICO_winICO_fcpx ICO_resolve ICO_premiere

Most cameras record in non-Quicktime formats like MP4 or MXF, some are more PC friendly, others work better on Mac. The Alexa can record in two compression types/file formats: either you can record as a ProRes compressed Quicktime *.mov or as an MXF-wrapped DNxHD compressed file. Hopefully, the next generation of external recorders will follow suit. One MXF recorder already exists: A laptop with BM-mini Recorder running Avid Or Premiere!

Apple research:
-I love ProRes on Mac, I think it’s a great looking, very easy too use codec.
It works in 64 bit. If a production uses ProRes, I fight for editing on Mac.
-Most people seem to agree that Macs are build for Apple’s own software, not the competition’s.
QuickTime is deprecated? What does that mean in practice?
What is Apple doing with QuickTime?
-The big loser on the Mac platform is Premiere. Adobe has made strides in improving the performance of their applications, but it still doesn’t compare to what Apple has achieved with FCPX.
There is an incompatibility between Premiere and Open-GL and AMD.
-The winner is FCPX. Software and hardware are tuned to each other for maximum performance. It takes advantage of modern hardware, as it’s 64-bit (uses all your RAM), OpenCL GPU-accelerated (uses your graphics card for playback, render and export), and supports Grand Central Dispatch (uses all of your CPUs and cores).

PC/Windows research:
When I work with QuickTime and most codecs on PC, I’m constantly experiencing mini crashes (white screen lockup) and slow export times. I’m forced to restart every hour because pagefile.sys and QT32 processes running in the background bog the system down. I think the white screen lockup is the pagefile.sys being written or read by Windows from the slow internal HD! (takes about 30sec)
There is no 64-bit version of QuickTime, primarily because Apple has ceased development of QuickTime on Windows (except for security and minor updates). QuickTime has been 7.x for 10 years now, and 8.0 does not seem to be anywhere in the distance. Avid, Adobe and Resolve work great with non-Quicktime media or Avid’s own media (MXF).
The QT-32 process on PC runs in a 4 GB memory space, even when lots of memory is installed. To keep up with playback, the system has to keep swapping banks of memory (pagefile.sys) to the hard-drive instead of using all installed memory causing severe performance degradation. The other drawback is the very limited threading capability, causing a far from efficient use of all the logical cores in the system.
MXF is a much better container format, as it is just a container, unlike QuickTime, which is a full multimedia framework.
MXF requires no installation (and hence never needs updating); doesn’t launch a process when used, so 32- and 64-bit matter not; and it has no bugs or odd quirks – it just holds the video, audio and metadata.
-I avoid Quicktime on PC. Any codec! > I use native camera media, MXF, MP4 or native Avid Media Files (which are MXF).
-I don’t use ProRes on PC, with any of the NLEs, even though they say it works. It is just too much trouble, glitchy and slow.
-ProRes inside MXF on Avid is a joke. Their glossy brochures talk about compatibility, but I can’t make it work. I only use AMA to transcode to Avid media, not for editing.
-In Premiere> QuickTime for Windows cannot export H.264 on computers that have more than 16 CPU cores due to a problem in the Apple H.264 compressor component.


-If possible I do Multi-Cam on Avid with transcoded DNxHD36 media if more than 4 angles for the offline. For online relink to native media.
-Next best is Premiere with the same DNxHD36 media if more than 4 angles and native media with <4 angles.

You can edit without QuickTime but deliver in Quicktime. When a client asks for QuickTime & certain codec, I give them what they want. This means keeping a Mac around somehow for ProRes delivery.
Saving MXF clips to MXF container in Premiere
AVID – Fast Import Apple ProRes .mov to AVID Pro Res .mxf Workflow
Arri Alexa bypassing Quicktime using MXF instead

Interoperability with DAM systems:
Dalet supports import/ingest/export in MXF
-you have to test and update your workflow company wide to make use of this.
Delivery of MXF with Closed captioning

Uninstall QuickTime to avoid all kinds of conflicts with your NLE.
It forces your NLE to use their workarounds for play back Quicktime codecs.
Don’t worry, you can always put it back, the NLE usually has it’s own process to playback QuickTime sources. Premiere works fine on Windows without QuickTime installed.
It is a great trouble shooting step to try to improve the realtime capabilities of your system.

Uninstall QuickTime on Mac:

1. Internal HD>Library>Quicktime
2. Remove all or just the components you are trouble shooting, out of this folder.
3. restart apps using QuickTime.

Uninstall Quicktime on PC/Windows:
1. Control Panel>Add/Remove Software
2. Restart Computer.
3. click here to download latest version from Apple.

Security Alert uninstall Quicktime
-Avid’s take on Quicktime
Do your own performance tests.
How do I speed up rendering, exporting, or encoding?
-Adobe’s smart rendering workflow
Good article about how video codecs work
QuickTime is deprecated? What does that mean in practice?
What is Apple doing with QuickTime?
-Adobe says it buried on a support page: ProRes is not supported on Windows!
A Guide to Common Video Formats: Containers, Compression, and Codecs
Build a balanced system
GPU vs CPU how is the work shared?
Free Resolve-12: Great basic editor, fantastic color corrector > the standard for most TV & Film. Also has one feature no other NLE’S have: Export files from timeline as individual files!
Free Red CINE-X: Transcodes any Red file into an editable format: even Quicktime ProRes on Mac and PC!

Free DCP

If you’re lucky enough to own Adobe Creative Cloud CC 2014/15 you can create a free 2K DCP.
For 4K, 3D, HFR or other frame rates than 24 or 25 you have to buy the pro version of Wraptor DCP
1. Create final file in the highest resolution possible with Audio as either:
A. Stereo
B. 3 channels (Left, Center, Right)
C. 5.1(L,R,C,LFE,Ls,Rs)
DCPs are True 24 fps or True 25 fps. Progressive!
For best results do your own conversion from 23.98 or 29.79 using Premiere or AE.
For interlaced footage 29.97, make a true 24 fps timeline >1998×1080. Set field options to >Always De-interlace.  Don’t use optical flow. Don’t stretch to 1998, just leave a little bit of black on both edges, scaling creates artifacts.
The best de-interlacing is done in AE or Red Giant’s Frames.
Speed up Audio by 0.1% (for 23.98) in Audition, then add to sequence.

2. Drag your final file into AMA and choose Wraptor DCP.
The only options are 24/25 frame and aspect ratio.
Choose “Flat” for 16×9 HD footage.
Bitrate is fixed to 250Mbps which is very good and creates files of 15GB per 60min of footage.
The encoder takes your file and creates a series of JPEG2000 files at true 24 fr/sec.
It takes 4x Realtime (1hour of film takes 4hr)
3. 2 tests before you send it out:
1. Test the Files by re-importing into Pr and re-combining the Video.mxf with the audio.mxf from the DCP folder.
2 Install DCP Player Free (WIN ONLY) 
4. Format USB stick as Linux ext2 or ext3 file system. Difference ext2, ext3, ext4
On MAC most people use the Paragon extension for osx.
or Ext2 File System Driver for WIN
NOTE: An Ext 2 formatted USB Drive will not be recognized by a WIN or MAC computer.
5. Copy your DCP folder to the EXT2 USB stick.
6. Ask your local theatre if you can stop by in in the morning for 15 mins and load on their D-Cinema server.
Transfer of 15GB/1hr takes about 5 min >USB3.
DCP-usb DCP-check

Most projectionists and festivals advice against using encryption.cru_dataport_6607_7100_0500_dx115_carrier_only_sata_1412203509000_1066163
Make sure you can deliver USB stick instead of old-fashioned CRU-115 Data-port carrier.



The Wraptor Lite DCP creator follows academy specs:
Framerate: 24fps (not 23.976)
Compression: JPEG2000
Color Space: XYZ
2K Format: Full Container 2048×1080, Flat (1.85:1) 1998×1080, or Scope (2.39:1) 2048×858
Audio Format: 48kHz uncompressed, 24 bit
Minimum of 3 Audio Channels: Left, Right, Center or 5.1
Encryption: Unencrypted material only
A DCP is nothing more than a set file structure in a folder that the D-cinema server can read.
Read more about DCP’s here or Filmmaker Magazine
How to prepare your project for a DCP Digital Cinema PackageDCP-files


Use Screenflow to capture a web page in action, including video playing on the page.
Look for: ScreenFlow-Tutorial, Shortcuts and manual on the right.

-For capture set your resolution temporarily to 1344×840 (in OSX System Preferences)
This is to make the capture resolution closer to video resolution.
-Find a neutral desktop BG don’t have browser all the way on top. (or export will not be title save)
-Use “Browser zoom” to make pages as big as possible CMD + – (examine this)
-Time and rehearse the moves on the web page.
1. Start screenflow. (Set Audio to computer audio if you need it)
2. Record the web page.
3. Save screen flow project as (in a screen flow folder with your other GFX elements for the show)
4. Add video + Call action
5. Crop at 1344×800 (this is to counter distortion during export/import to FCP)
6. Export out as Custom DVCPRO-HD 1080i60 29.97 1280×1080, Audio PCM, 48k 16bit.


Good Computer Habits

Pay attention when you look at 20-year-olds or experienced computer users. They usually use “secret” keystrokes that do things in 1 second that would take you minutes, and they seem to click the mouse less. If you want to become an efficient user of editing software you have to try to copy some of their behavior.
Actually, copying habits of experienced users is key to making the deadline and getting into bed on time. Here are some tips:

1. On a Macintosh a right-click is Control-Click. Connect a 2 button mouse with scroll wheel to your system. Contextual Menu’s (right-click) are very important in FCP.
Try right-clicking in different windows and see what options you get.
2. Don’t close windows (red x button)
You create extra work for yourself if you have to re-find or re-open things you had before.
If windows are in the way, CMD-tab to switch between open applications, minimize or hide (CMD-H)
3. Switch between applications and open windows, using CMD-tab (MAC) or alt-tab (PC)
Apply this habit to all your computers, all the time, everywhere.
4. Use the mouse for pointing to what you want, shortcuts for an action.
Example: move the pointer to a cut then press I to put an in-point. Print out the shortcuts. (linked on the right)
5. In the Finder Press SPACE bar to preview files. (no double clicking!)
6. Hover over buttons and other areas, wait, and see a tooltip appear explaining what it does. It shows the shortcuts too!

7. Cross Platform File Names
When you edit you will exchange files with people over the internet, servers and Windows formatted hard drives. Biggest problem with OSX is that it doesn’t force you to be Internet/Windows compatible.

These are the rules:
A. Always save with extensions. (the 3 lower case characters after the period)
B. No_spaces_in_file_names.
C. No period at the end of a file name
D. Don’t use illegal Windows characters: ? [ ] / = + < > : ; ” , * |
The most common offender is the forward slash, illegal in Windows file names but popular with Macintosh users who like to include a date in the file name. Write a date like this instead: 20090823_vo_johnny23.aif
If you always write your file names like this, they are easy to read and sort.
Please follow this naming convention for FCP projects:

Color coding is a big waste of time!