… for Adobe Premiere Pro CC

Tip #1035: Bugs in Automatic Scene Detection

Larry Jordan – LarryJordan.com

Scene Detection works reliably provided you don’t unlink audio from video.

Scene detection options in Adobe Premiere Pro v. 14.4.

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There are two significant bugs in the new automatic scene detection feature in the 14.4 update to Adobe Premiere Pro.

Scene detection reviews a clip, then adds cuts where the scene changes. This is a big help when you need to deconstruct an already-edited piece, or need to chop up DV or HDV footage where multiple takes are contained in a single clip.

NOTE: Scene detection can also create subclips or add clip markers, if that is your preference.

However, in preparing my recent webinar on the “New Features in Adobe Premiere Pro” I discovered two significant bugs in this process.

First, if you unlink audio from video for the clip you want to process, scene detection will fail more than 90% of the time. (If the clip is not unlinked, scene detection works reliably.)

Second, if you don’t want the audio cut, Adobe says you can merge the audio back into a single clip after scene detection cuts a clip. However, when the audio segments are selected in the timeline, the Merge option is disabled.


The best option, if you want to cut video and not audio, is to leave the audio and video clips linked, use scene detection to cut the clip, then, delete all the audio segment except the first one, then roll trim the first clip back to its original length.

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… for Adobe Premiere Pro CC

Tip #1042: Multiple Bugs in Proxy Export

Larry Jordan – LarryJordan.com

For now, use proxies, but avoid using proxy export.

The “Use Proxies” option in Premiere. My advice? Don’t use it.

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New in the 14.4. update to Adobe Premiere Pro is the ability to export proxy files, instead of high-resolution camera masters. The only problem is, this doesn’t work.

While Premiere has supported proxies for a while, new with this release is the ability to export proxy media. Prior, regardless of whether proxies were active or not, it would always export high-resolution media.

While exporting proxy files is a note-worthy feature, this feature does not work in the 14.4 release. After working with this for three days, and talking with Adobe, I have never gotten proxies to export. Instead, regardless of whether proxies are active or not, Premiere always exports high-resolution media.

For now, don’t use this function. Adobe acknowledges that their whole proxy workflow needs more work. I expect to see improvements to proxies in future releases.


Compounding this problem, another bug in working with proxies is that if you create a custom proxy ingest setting – say to burn a watermark into the proxy media, Premiere will reject the custom setting due to enabling “Match frame size and frame rate.” However, even when these settings are turned off, Premiere still won’t accept a custom proxy ingest setting.

And, if you create proxies outside of Premiere using Adobe Media Encoder, Premiere will refuse to link to them because AME changes the audio channel mapping, which Premiere needs to link the files.

… for Adobe Premiere Pro CC

Tip #1044: What Does “Clamp Signal” Do?

Larry Jordan – LarryJordan.com

Clamp scopes when doing creative work, unclamp when evaluating images technically.

The Clamp Signal checkbox in the Lumetri Waveform Monitor.

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The Lumetri video scopes have a “Clamp Signal” checkbox. As I was researching my recent webinar on “New Features in Adobe Premiere Pro,” I talked with Adobe about this.

What the Clamp Signal checkbox does, when turned on, is compress, or clamp, any grayscale levels over 100 IRE or below 0 IRE that are displayed in the scopes. This means all grayscale values fall between 0 – 100 IRE.

NOTE: These excess values are called “super-white” or “super-black.” Both are illegal values for broadcast, DVD or digital cinema.

This clamping does NOT affect any clips in the timeline or browser display; or media being exported.

In general, when doing creative work, turn clamping on. When evaluating your final project technically, turn clamping off, then make sure no values are above 100 or below 0.


If your color grade is done, and you still have illegal levels, apply Video Effects > Color Correction > Video Limiter to clean them up.

Here’s an older tutorial that explains what the limiter does.

… for Apple Final Cut Pro X

Tip #1038: Apple Releases Bug Fix Updates

Larry Jordan – LarryJordan.com

Updates fix most of the bugs introduced with the 10.4.9 update.

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Thursday last week, Apple released bug-fix updates to Final Cut Pro X, Motion 5 and Compressor 4. Apple also updated the ProVideo codecs.

The Final Cut update fixed the color flicker problem that first appeared in version 10.4.9, along with a variety of other bugs. It also, at least on my system, fixed the bug preventing voice-overs from actually recording.

One bug that was NOT fixed is the inability to export chapter markers from FCP X. Apple is still researching this.

Here’s the list of fixes from Apple’s release notes:

Final Cut Pro

  • Fixes an issue in which XAVC media from the Sony PXW-FX9 camera is not recognized
  • Fixes an issue where brightness levels shift when switching between Better Quality and Better Performance in the viewer
  • Fixes an issue in which effect keyframes are not added correctly when using onscreen controls
  • Improves stability when using the transform tool with multiple clips in the timeline
  • Improves reliability when exporting an FCPXML that contains Compound clips
  • Addresses an issue which could prevent sharing at certain resolutions
  • Fixes an issue in which sharing a Compound or Multicam clip from the timeline was disabled.


  • Fixes an issue in which XAVC media from the Sony PXW-FX9 camera is not recognized


  • Fixes an issue in which XAVC media from the Sony PXW-FX9 camera is not recognized


Here’s the complete list of features and fixes in every version of Final Cut 10.4.

Updates to Final Cut, Motion and Compressor are free and available in the Mac App Store. The ProVideo updates are free and available in System Preferences > Software Update.

… for Adobe Premiere Pro CC

Tip #1023: Tricks of the Zoom Tool

Larry Jordan – LarryJordan.com

The Zoom tool is the fastest way to zoom into a timeline segment.

The Zoom tool is located in the Hand menu. (Shortcut: Z)

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Hidden, but accessible with a keyboard shortcut, is the Zoom tool. This is often faster than using keyboard shortcuts to zoom into the timeline! As a certified keyboard junkie, it often hard to believe that anything with the mouse is faster – but the Zoom tool may be the exception that proves the rule.

Click and hold the cursor on the Hand tool, then select Zoom tool from the menu that appears. (See screen shot.)

NOTE: The keyboard shortcut for the Zoom tool is: Z.

While we can simply zoom into the timeline by typing + [plus] or [minus], the Zoom tool is faster when we want to get more specific. To zoom into a specific section of the timeline, select the Zoom tool, then drag a rectangle around the section of the timeline you want to see.

Poof! That region instantly fills the timeline!


The Zoom tool only works with clips in the timeline.

Type \ [back-slash] to fit everything back into the timeline again.

… for Adobe Premiere Pro CC

Tip #1024: Moving the Anchor Point

Larry Jordan – LarryJordan.com

The Anchor Point can be easily moved using the Move tool.

The Anchor point (red arrow) is set by moving the cross-hair icon.

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The Anchor point is that spot in an element around which it rotates or scales. Clips, shapes and text each have separate anchor points, but moving them is the same.

  • Select the clip who’s anchor point you want to move.
  • Select the Move tool.
  • In the Program Monitor, drag the small circle with the cross-hair to the position you want. The EXACT position is the center of the cross-hair.

If you need more precision, or need to match anchor points for multiple clips, select the clip, then, in the Effect Controls panel, enter the precise numbers you need for the Anchor point for the selected clip.


Here’s where to find the appropriate Anchor point. Using the Move tool, select the object in the Program Monitor you want to adjust. It will highlight in the Effect Controls panel.

  • Video: Effect Controls > Motion
  • Shapes: Effect Controls > Shape > Transform
  • Text: Effect Controls > Text > Transform

… for Adobe Premiere Pro CC

Tip #1022: The Pen Tool

Larry Jordan – LarryJordan.com

The Pen tool creates shapes we can use standalone or under text.

I have no idea what this it, but it’s kinda cute – and has a drop shadow.

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The Pen tool allows us to draw shapes directly in the Program Monitor, fill them with color, add a border or drop shadow, then animate them. We are used to using the Pen tool as part of Effect Controls. But there is also the Pen tool in the Tools palette. We use this to draw shapes on-screen.

  • Put the playhead in the timeline where you want a shape to start, then, select the Pen tool from the Tools palette.
  • In the Program Monitor, click and draw a shape. Click to create a corner, click and drag to create a curve.
  • Re-click the starting point to create a closed shape, or don’t to create an open shape. (We most often use open shapes to create a curved line – it is a border with no fill.)
  • To move a shape, select the clip, then use the Move tool.
  • To adjust a shape, select the Pen tool, then, in Effect Controls, twirl down the Shape, and select Path.

NOTE: The shapes created by the Pen tool are vectors, which means they can be scaled as much as you want without losing edge sharpness.


The Shape controls, in the Effect Controls panel, provide:

  • Path. Redraw the shape, using the Pen tool.
  • Appearance. Change fill, stroke and shadow settings.
  • Transform. Change size, position and rotation, along with adding keyframe animation.

… for Apple Final Cut Pro X

Tip #1016: Caution: Color Flickering in FCP X 10.4.9

Larry Jordan – LarryJordan.com

FCP X 10.4.9 seems to create color flickering during grading.

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I have received multiple reports this last week from editors reporting color shifts or color flickering when editing camera native media in Final Cut Pro X 10.4.9. This problem did not exist in Final Cut 10.4.8.

As one editor reported:

We have found the following:

  • The jumpiness happens as the clip is being color corrected with or without a camera LUT applied
  • There is no difference whether the timeline is set to “Better Performance” or “Better Quality;” the color levels still jump around
  • Transcoding the media to “proxy” and working with the proxy files eliminates the jumpiness during color correction

I reported the problem to Apple and they are looking at it. For now, until they figure out what’s going on:

  • If you haven’t upgraded to 10.4.9, don’t.
  • If you have, consider doing your color grades in proxy mode until this issue is resolved.


Please add a comment if you’ve experienced similar problems. I will forward your comments to Apple.

… for Apple Final Cut Pro X

Tip #1017: Chapter Marker Export Option Missing

Larry Jordan – LarryJordan.com

The option to include chapter markers on export has disappeared in FCP X 10.4.9.

The Master File > Settings panel. The checkbox to export chapter markers is gone.

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Another problem that surfaced with the 10.4.9 update to Apple Final Cut Pro X is that chapter markers can no longer be exported – at least on my system.

As you can see from the screen shot, when exporting a master file, there’s no checkbox to include chapter markers in the export. And, not surprisingly, if I include chapter markers in my project, they don’t export.

This problem did not exist in the 10.4.8 version of Final Cut.

For now, if you need chapter markers, don’t upgrade to 10.4.9.


Chapter markers can be included in both QuickTime movies and MPEG/4 movies. I use them in all my webinar downloads and streams, not just DVDs.

I’ve contacted Apple about this problem and they are looking into it.

… for Adobe Premiere Pro CC

Tip #1003: The Slide Tool – Relic of the Past

Larry Jordan – LarryJordan.com

The Slip tool is essential. The Slide tool is a relic of the distant past.

The Slide tool moving the position of a clip, without changing content or duration.

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Last week, I wrote about the Slip tool (Tip #986). Loren took me to task asking why I didn’t write about its cousin: the Slide tool. So, now, I am.

The Slip tool (Shortcut: Y) changes the content of a shot without changing its duration or location in the timeline.

The Slide tool (Shortcut: U) changes the position of a clip inside it’s track in the timeline, without changing its content or duration. It does this by trimming the Out of the clip before it and the In of the clip after it as you drag it in the Timeline.

The Slide tool was invented back in the earliest days of non-linear editing, when we only had one video track and one title track to work with. The Slide tool allowed us to slide clips along that single video track to find the best place to put a shot.


You can only Slide a clip as far as you have handles on the clips before and after it.

While I use the Slip tool all the time, I never use the Slide tool anymore, simply because it is easier to raise a clip to a higher track where I can move it as much as I want without altering the clips on the main track.