When you are "seeking," (which means QUICKLY looking through a long video by clicking and dragging the playhead with the cursor,) there is sometimes very high "prefetch latency," meaning that frames will load slowly, resulting in very few frames being shown. This can make it very difficult to find what you're looking for.

But when seeking, perfect frame accuracy is not nearly as important as seeing what you're doing. Therefore, to reduce the "prefetch latency," I suggest that the nearest I-frame is loaded and displayed FIRST, (because I-frames are always the fastest to load) while the exact B or P frame is still being slowly decoded. As soon as it's decoded, it can be displayed, replacing the displayed I-frame.

If the user is seeking quickly, there might not be enough time to load the P and B frames before the user has already moved the playhead nearer to another I-frame. This is fine! The I-frames should always take priority.

In VLC, there is a similar feature called "fast seek."

Combined with my "ghost playhead" feature suggestion, it would be made clear to the user exactly what is going on. (Linked below)

However, it would probably be important for fast seeking to be optional, and perhaps even off by default, as it may confuse some users.

NOTE: This works best if only ONE video source is visible. With more than one video on the timeline, the I-frames will probably not be in the same spots. Nevertheless, it COULD still work, but there would have to be multiple ghost playheads. This might be too difficult to code, and confusing and frustrating for users, who won't understand why premiere is showing video frames out of lockstep, especially in cases where one video has high prefetch latency, and the other is low.

LINK TO FULL EXPLANATORY VIDEO: https://youtu.be/XeFezzmG22c

LINK TO GHOST PLAYHEAD USERVOICE ENTRY: https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/42186274-a-ghost-playhead-which-always-marks-the-timeline

For the Lumetri Color Effect’s curves controls (Hue vs Sat, Hue vs Hue, and Hue vs Luma), cyan is in the center, while red is on the far left and right sides. This is inconvenient, because most users will probably want to adjust skin tones more than anything else, and skin tones are almost always somewhere in the reds and yellows. Therefore, I propose that red be in the center by default, while cyan is on the edges.
NOTE: Because a horizontal scroll bar is already available, it is possible for the user to essentially do this themselves... but because skin tones are the most common thing I adjust, I find that I have to manually scroll that bar all the way to the left or right, 80% of the time I use these controls. So it would definitely be less hassle (for me) if red was already in the center.
There may be a good reason to have cyan in the middle, but I can't think of it.

If you enable the check box in Preferences > General > Display color management, it will adjust the colors on the Source and Program monitors according to that monitor’s associated .icm file. However, this is only for viewing purposes on that specific monitor.
For an eyedropper to work properly, it must sample the color as it exists BEFORE color management is applied to it. But most of the eyedroppers inside of Premiere will only sample a color AFTER it has been adjusted by color management.
You can prove this by turning on color management, then trying to use a Color Matte’s color picker to match something else with solid colors. The results will always be different. (As shown in the image with the color bars.)
Currently, the only way to properly sample any color is to turn off color management first, as I demonstrate in this short clip. (45:41 to 46:21)
https://youtu.be/QPubgoqtfbk?t=2741

Currently, only the eyedroppers inside the Lumetri Color effect work correctly when color management is enabled. (As far as I know)

(Perhaps "current view indicator" is a better name than "ghost playhead.")

Here is the problem: The (cyan, user-controlled) playhead does NOT necessarily correlate to the frame that is being shown in the program or source monitor.

Sometimes, an old frame continues to be displayed, even though the user clicked elsewhere on the timeline (or "time ruler," as Premiere calls it.)

Depending upon computer specs, network bandwidth and latency, video codec, and other factors, it can sometimes take several seconds for the chosen frame to actually load and be displayed.

In the meantime, users need some kind of indication as to which frame is currently being displayed. This would be "the ghost playhead," which could perhaps be colored red.

If the normal playhead IS NOT on the same frame as the ghost playhead, it should be a different color, perhaps purple. This could be called the "Pending playhead."

If the normal playhead and ghost playhead ARE on the same frame, they should combine to form a different color - probably cyan as it is now.

Here's a video explanation:
https://youtu.be/XeFezzmG22c?t=311

Here's a link to a closely related feature request: https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/42186322--i-frame-first-fast-seeking-for-inter-frame-compr

Since the update to 14.5.0, all panels that are on a secondary monitor (connected to a DisplayPort) are unresponsive to the keyboard, and items cannot be dragged and dropped.

For example, I have a workspace that has the source and program monitor panels, plus the productions and media browser panels on my primary monitor. The rest are arranged on my secondary monitor.

I can use key strokes in any of the panels on the primary monitor, for example, hitting the spacebar will toggle playback in the source and program panels. I can also drag and drop clips from the media browser to the source or program panel.

But, I cannot drag and drop from the media browser to the project panel or a sequence, because those panels are on the secondary monitor. I also cannot drag clips from the project panel to a sequence, nor can I drag an effect from the effects panel (also on the secondary monitor) to a clip in a sequence.

There is however, a workaround. If I change the workspace to one of the default schemes that only occupy the primary monitor, then switch back to my dual monitor scheme, all the issues disappear until the next time I launch Premiere.

Has anyone else experienced this bug?

Adobe Premiere Rush is getting a Pan and Zoom effect for quick and easy pan and zoom options for stills and (we can presume) video as well.

There was a time when effects and advancments flowed from Premiere or Rush, but not in this case. While we can manually create pan and zooms in PPro with keyframes a fast and easy automated Pan and Zoom would be great. Both Final Cut Pro X and DaVinci Resolve have this features to Premiere is behind.

Most of the development work would be done if this exists in Rush so it should be easy to bring automated Pan and Zoom to Adobe Premiere Pro.

Timeline pasting is a daily, 'everybody-uses-it' editing function. So why has it still not been improved?

Vastly improving pasting is simple: Give users the ability to choose 'on the fly' where they want their media pasted or insert-pasted:
1. on the lowest enabled track (current behavior)
2. on the highest enabled track
3. on the same track in was copied from

By providing new shortcut options, EVERYONE would be happy:
1. Users who like the current way pasting works wouldn't notice any difference.
2. Users who want media pasted to the highest enabled track where there's always the most free space to paste into would simply need to assign keyboard shortcuts to the 2 new functions offered: paste and insert paste to highest enabled track. If they plan on using these new options most or all of the time, they could set it to the default Ctrl+V and Ctrl+Shift+V shortcuts, while assigning other shortcuts to the current Paste/Paste Insert functions, should they ever want to use them.
3. Users who would like media pasted/insert-pasted to the same video tracks it was copied from would also be taken care of, with 2 new keyboard shortcut-assignable functions. Once again, if this is the pasting method the user wishes to use most or all of the time, they could assign their current keyboard shortcuts to these 2 new functions, while giving new shortcuts to paste/insert paste to the highest and/or lowest video track, should they so choose.

Given how often editors need to paste media on their timeline, this should be given priority over other new features that, while useful, may only ever be used seldomly by few editors.

In case the benefit of allowing editors to paste to the highest enabled track is still not evident enough, please see the attached illustrations. In the all-too common editing example/'Game' illustrated, pasting to the highest vs the lowest enabled track would require 2 steps vs 5.

PLEASE improve timeline pasting! It's long overdue. Thank you!!!

There are 2 ways the Effect Controls Window workflow could be greatly improved, simply by improving Snapping:

1. When moving the playhead to the end of a clip in the ECW, dragging a keyframe to the end, or jumping to the end with the 'Go to next edit point' shortcut, the playhead and/or keyframe should automatically snap to the beginning of the last frame rather than to the end of it. This way, the clip loaded in the ECW remains visible in the Program Monitor, rather than the ECW and Program Monitor jumping to the next clip!




2. When turning off 'Pin to Clip', it would be far more useful if the ECW automatically snapped to a zoom setting that allows all keyframes to be seen! This would save the user the trouble of using the scroll bar to go searching for keyframes that are outside the visible bounds of the clip.

See attached illustration for more info.

We want to be able to add gradients, scene features, and apply multiple shadows to text (as with legacy titles).

It is inevitable that legacy titles will disappear someday.
However, we want at least the features equivalent to legacy titles to be included in Essential Graphics.
For that purpose, I want to be able to add a gradient scene function and apply multiple shadows.
The Essential Graphics text tool has evolved significantly with the April 2019 update. Especially in Japan, joy was raised. Later, if you evolve a little more, it will create great value in the Japanese video production world.

エッセンシャルグラフィックステキストツールの充実

私たちはテキストに対して、グラデーションやシーン機能の追加、シャドウの複数適用ができるようになってほしい（レガシータイトルができていたように）。

レガシータイトルがいつかなくなってしまうのは仕方がない。
しかし、少なくともレガシータイトルと同等の機能が、エッセンシャルグラフィックスに搭載されてからにして欲しい。
そのためにも、グラデーション・シーン機能の追加、そしてシャドウの複数適用ができるようになって欲しい。
エッセンシャルグラフィックスのテキストツールは、2019年4月のアップデートで大きく進化した。特に日本では喜びの声が上がった。後もう少し、進化をしてくれると日本の映像制作世界の中で大きな価値を生み出すでしょう。

Premiere Pro's Media Browser has a Double-Column/Split view which is extremely useful. So why can't the Project window also have an option to toggle on/off Split view?

As implied by the name, Split view would split the Project window into 2 columns. In the left column, you'd have an always-visible List view of bins and sub bins. In the right column, you’d see a bin’s contents in either List or Icon view. Each column would be independently scrollable, just like in the Media Browser.

There are several benefits to this approach.

BENEFITS (see attached picture for reference):
-Lower bins don’t get pushed out of view when twirling open a bin with lots of content (see points 1 & 2).
-You get direct access to over 2X more assets using the exact same screen real-estate (points 1 & 2).
-You can use 2 view modes at the same time: List view for bins, where it makes most sense, and Icon view for media (point 3).
-When using icon view, you retain direct access to your bins (point 4).

Even Premiere 6.5 (2002) had a split view in its Project window! Why did Adobe remove this essential functionality in Premiere “Pro” 7.0?!

Adobe clearly understands the value of Split views since otherwise they wouldn't offer it in Premiere Pro's own Media Browser. It's time for Adobe to fix their 17 year old mistake and give us back Split view where it's needed the most: in the Project window!

Please comment and vote. Lets get this fixed once and for all!