Right now the built-in proxies only have one option for customization - a little watermark in the bottom left corner. I would love the option for a custom watermark. The problem with the current watermark is that it is so small, that if we zoom into the footage, it hides it entirely. We've used an "x" on the full screen that touches all the corners and that works really well without being obtrusive.

Making a custom proxy preset isn't the ideal solution- because then we have to do one for every aspect ratio we work in and implement each preset over a suite of computers.

Adding a timecode option here would be welcome as well.

When cutting up an interview footage it takes longer to cut with the wave form. If you could delete words from the transcript & Premiere made the cuts in the timeline it would save so much time. The simplest way to describe it is to reference the software that already does it, Descript. However when you're doing multiple angles & sources of audio it gets to be hectic to try to bring that back over to Premiere for the final edit.

It would be nice to see that technology be directly inside of Premiere so you could sync everything up, transcribe it, then edit the transcript to create a rough cut of the projects speaking parts.

Hi Folks,

[Posted a version of this on the support community forum, but thought I'd submit it as a bug report as well. From a UX perspective, I think it's safe to assume an expectation of the selected clip (being necessary to bring up the colour tools for that clip) is the target for the eyedropper, regardless of what tracks or layers are on top.]

This may be helpful to some of you running into an unresponsive key colour selection eyedropper for Lumetri Color > HSL Secondary. I found a workaround that seems to be doing the trick.

It appears to me that the HSL key eyedroppers struggle with track/layer interference when making selections. Regardless of whether the target clip is selected (as you would expect, same as with other tools in Premiere Pro and After Effects), any layer or even empty track above the target clip track seems to prevent a key colour selection from being set. I've shown a typical situation in the attached images where there's an adjustment layer, a mostly transparent AE comp layer and an empty track above the target footage; eyedropper was unresponsive in the case of Fig.1, works fine so far in Fig.2, where the clip has been moved to the top track:

[Fig.1 "Original.jpg": Original clip position.]

[Fig.2 "MovedToTopTrack.jpg": Clip moved to top layer. Shift+Drag to maintain timeline placement.]

Temporarily dragging the clip to the topmost track, above all else, before making the key colour selection seems to work for me. I can now use the HSL Secondary eyedropper to select my key colour(s).

My current setup: Version 22.5.0 (Build 62) // Windows 10 // i7-9700 // 16GB RAM // Workspace setup with preview panel (sample source) on primary monitor and colour management + timeline on secondary.

I think we'd all expect that if you have the target clip selected (you know, the one you need to select to access the tool and make the change) that it should be looking to sample from that clip, regardless of where it is in the track stack. Looks like it should be a fairly easy-to-implement fix.

Cheers!

Before the last two updates, you folks had the perfect export dialogue for sending to Media Encoder Queue from Premiere's timeline. It was fast and efficient. I could send 10 to 20 promos to queue quick, push the encode button and go do something else for a few minutes. Now the process is so clunky and slow that it takes longer to export numerous spots in a timeline to queue than to just export each individual spot directly from the timeline using Premiere's internal Media Encoder. You might as well retire the external media encoder because it's not doing what, I believe, it's supposed to do...make the export process go faster and with less pain!

Here's why:
1. You had a floating Premiere export dialogue box that could be sized and positioned over the timeline...from where I was exporting.
2. You had a floating export to Media Encoder queue dialogue box that could be resized and positioned over Premiere's export dialogue box.
4. You could align the two buttons (send to ME Queue and Premiere's send preset send button) for a quick two-click send to queue.
5. You could move to the next spot in the timeline quickly before it was finished sending the previous spot to queue...saving time!
6. Media Encoder's queue window would disappear behind Premiere each time you went back to the timeline to export the next spot...saving screen real estate.
7. Premiere's export dialogue would disappear once a spot was sent to queue...saving screen real estate!
8. Each spot took only 1 to 2 seconds to send to queue...and you could move on to the next spot in your timeline before it finished sending to Queue...so you could push the process faster!

In Premiere's current version, (22.5.0 - Build 62) all that utility and efficiency is gone!

1. The export dialogue is now a tab in the main Project window...taking up screen real estate
2. Premiere's export button is now in the lower right hand corner of the export dialogue as a tab in the main project window...it takes a long mouse streak down and to the right to finally send to export!!!
3. Media Encoder's queue dialogue box is always on top...taking up screen real estate.
4. Each line item in Media Encoder's queue dialogue box is bigger. Now you have to make Media Encoder's window much bigger to see several lines of queue items, again...taking up screen real estate!
5. Upon sending each spot to queue, you now have to wait 10 to 20 seconds as a progress bar shows you how slow it is sending each spot to queue!
6. If you try to push ahead whilst a spot is sending to queue (10 to 20 seconds) you get a failed output! I tried to push ahead on each of 8 spots in my timeline of 10 and 20 second spots with different tags and wound up with 8 identical 10 second spots exported...each spot was the final 10 second spot in the timeline. In others words, if you try to save time by pushing ahead to the next spot in your timeline...Media Encoder Fails!!!

How's that for utility and efficiency? So it's useless to use Media Encoder standalone with Premiere! I've given up! Now I'm just exporting one spot at a time from my timeline...and falling asleep or doing something else as I wait 20 seconds to over a minute for each spot to export from my Premiere timeline. So much for utility and efficiency!

My feeling is this...the folks who designed the legacy version of Premiere's export dialogue had real experience in the broadcast, "Bag and Tag" environment (I hate that term) and figured out how to make the export/queue process work fast for those of us who have to do this kind of mentally dulling and utilitarian non-creative work!

And now you have folks that don't have that experience and think that it's not important to keep things that work for the people who do that work! They just want to change things 'willy nilly' because it looks better or more functional in their minds.

PLEASE CHECK WITH THOSE OF US WHO DEPEND ON THE PRODUCT'S FEATURES AND PROCESSES AS ORIGINALLY DESIGNED BEFORE YOU GO AND CHANGE THEM!!!!
OR MORE SIMPLY SAID...STOP TRYING TO FIX SOMETHING THAT AIN'T BROKE!!!!!!

I would be happy to discuss in detail with an Adobe design engineer how the legacy Export to Media Encoder queue interface helped make the process of exporting numerous spots to queue from Premiere's timeline fast, efficient and a joy to work with!

Thanks,

Rick Fernandez
Promo Editor
WTTG TV Washington, DC

Right now if I'm editing and want to go back to the start of my new edit and select the "down" arrow to go back to that edit, if that track's target is not activated, it'll take me back to the first edit of the track that is. THIS IS SO IRRITATING! Then I'll have to look for where I was in the timeline again and sometimes it takes a lot of time to find my place. Why can't we just make it so that when you select "up" or "down" keys, it goes to the next edit, not just the next edit on the track whose target happens to be enabled.

When zooming in the Project window, it would be a LOT more convenient if zooming was centred on any SELECTED clip(s) to keep it/them in view! (both in List and Icon view) If there are too many selected clips to fit in the zoomed view, zooming would give preference to the first of the selected clips.

Talking about convenience, why doesn't Pr allow users to hold their Alt or Ctrl key while turning a mouse's scroll wheel to zoom in and out of the Icon and List views?

Please make Pr work LOGICALLY, and in accordance to the way so many other programs work. Ctrl or Alt+Scroll Wheel zooming works in a lot of other software including other Adobe programs! Why does the Pr team continue to refuse to give us this functionality?