Request for Essential Graphics Text Tool
It is wonderful to be able to gradation the color of letters!
Thank you very much! !! Very glad! !! All Japanese users are happy!

As a request for further creative creation ...
・ We want a gradation function for the border.
・ We also want a gradation function for shadows.
-Multiple boundaries can be used. We want you to be able to use multiple shadows as well.

Especially in the Japanese video industry, multiple boundaries and their gradations are really used a lot. Hopefully at this time, we hope for further evolution!
Thank you!

エッセンシャルグラフィックステキストツールのリクエスト
文字の色をグラデーションできるようになったことはとても素晴らしい！
本当にありがとう！！とてもうれしい！！日本のユーザーはみんな喜んでいます！

さらなるクリエイティブの創造のためのリクエストとして・・・
・境界線にもグラデーション機能が欲しい。
・シャドウにもグラデーション機能が欲しい。
・境界線は複数使用することができる。同じようにシャドウも複数使用できるようになって欲しい。

特に日本の映像業界では、複数の境界線、それらのグラデーションは本当に多く使われています。できればこのタイミングで、さらなる進化を望みます！
よろしくお願いします！

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

(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

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)

The fact that Pr always defaults to the last export location, regardless of which project is exported from, is completely illogical. Why would a user ever want to export Project B's sequence into the last used export folder if that folder belongs to Project A, for example? (see illustration 1)

There are already about a half dozen FRs that ask for this to be fixed, however since they only offer half baked solutions, I'm posting a new FR, offering a full fledged solution.

The solution is simple:
Provide a new 'Export' tab in the Preferences window that allows users to define the default location they want all of their projects to export to (both from Export Settings and Quick Export). (see illustration 2)

A 'Relative path' checkbox would allow users to make the export path relative to each project. In the illustration's example, the location is set to .\Exports. This means exports from Project A will automatically appear inside a folder named 'Exports' next to project 'Project A.prproj', and exports from Project B will appear in Project B's 'Export' folder, and so forth. If an export folder doesn't exist, Pr would automatically create it upon export.

Should a user wish to automatically export to the same location regardless of which project is exported from, setting this up would be as easy as browsing to one's preferred export location (for example, a "Pr Exports" folder on the Desktop), and unchecking 'Relative path'.

Note that these options would only set each project's DEFAULT export location. If a user chooses to export to a different location from a certain project, then that (and only that) project's default export location would be automatically set to this new location.

Example:
Project A: User exports to Desktop = New default export location for Project A set to Desktop

Project B: Default export location continues to be 'Export' folder (next to Project B.prproj)

This workflow would address the needs of all editors: those who want exports saved in locations relative to each individual project, as well as those who want exports from all projects to appear in the same place!

The current exporting behavior makes zero sense and is incredibly frustrating, especially for editors who work on more than one project at a time. Please fix this already! Thank you!

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?

Sometime in the very beginning of January 2021, using Arrow Keys to move masks, (or mask points) directionally around the window by pixel accurate methods, changed over to moving the playhead instead!?

And when I go into Keyboard Shortcuts, and try to manually change it, it doesn't work! And I also tried removing all the default settings, and just add back in, Move by 1 pixel for each direction, and it still doesn't work!

I BELIEVE THIS IS A BUG, AND A LOT OF OTHER PEOPLE DO AS WELL:
https://community.adobe.com/t5/premiere-pro/i-can-t-move-mask-with-arrow-key/m-p/11677100/thread-id/317272

https://www.reddit.com/r/premiere/comments/kbav8l/usingarrowkeystomoveamasknolonger_works

Adobe, if this is NOT a bug, and is some sort of new feature, please give us back the ability to manually change it to the way we want it.

If it IS a bug, then please throw some of your extensive resources (as given you by the millions of users paying you $53/month until the end of friggin time!) to FIX THIS BUG!

THIS IS EFFECTING MY ABILITY TO DO MY JOB FOR OVER A MONTH NOW!

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.

Greetings! Like many other folks, we are remote shooting with camera crews and need to quickly get proxies from set that our editors can access quickly and start editing with. A common usecase is the proxies that the Canon C300 MK2 camera generates internally and records to an SD card. The camera originals are 3840x2160 and 400 MBS (23.98 fps, with 4 channels of audio). The proxies are 1920x1080. matching audio channels and framerate and 24 MBS, quite a bit smaller! We want to download these small proxies from set and have Premiere treat them as “attached proxies” even though we don’t have the originals yet. We would like to have the option to have Premiere interpret them as 3840 x 2160 as if they were proxies attached to masters of that framesize. Then later, when the camera crew gets back from location, downloads the originals and uploads them, our editor might download them the next day or even later. But we would like to have the proxy workflow where they point the Premiere project to the camera originals and Premiere recognizes them as the “attached masters” to the proxies they’ve been editing with. Now, when we finish an edit that has been edited with the 1080P proxies, often we’ve done a lot of resizing and reframing in the 1080P sequence and so when we reconnect to the 3840 x 2160 files it’s complicated to go back to resize and reframe. Also, we are wanting to be able to make very tiny 1280 x 720 MP4 proxies on location and have those map back to our raw files. A similar usecase requiring the same features in Premiere. We’ve been able to do this in After Effects since 1999 or so by bringing in offline clips and attaching proxies while waiting for the full rez clips to be available. Maybe this feature could be developed from code that the After Effects team has already developed? This would be an enormous timesaver and we would be very appreciative if you could help us develop this workflow!

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!!!

Bug report: After upgrading to Premiere v15, exporting an H264 file from either Premiere or Media Encoder to my NAS creates a file which the program claims exported successfully, but actually creates a glitched file. At some point in the file, the audio will drop out, and the video will freeze on a single frame, which will remain on screen for the rest of the duration.

Exporting a quicktime file to my NAS doesn't cause this problem, and exporting an H264 file to my internal harddrive doesn't cause this problem, so there's only an issue with the combination of encoding to the H264 export setting to a NAS location that is causing a problem.

This is hugely disruptive to my workflow, and I really need it fixed...

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.