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

Premiere Pro does not properly support CinemaDNG media. For starters, not all versions can be imported, specifically the media coming from the Blackmagic Ursa cameras.

But even for the versions that can be imported, support for the format is still lacking to the point of unusability.

The Media Browser will not see all the clips at the same time. We're forced to go into every individual clip folder for import duties. This is untenable.

The RAW controls available are limited to Temp, Tint and Exposure. The controls that are possible and must be implemented are:

White Balance
Color Space
Gamma
ISO
Color Temp
Tint
Exposure
Sharpness
Highlights
Shadows
Color Boost
Saturation
Midtone Detail
Lift
Gain
Contrast

Finally, because we do not have access to the Color Space or Gamma, the footage comes in with a preset "LUT" applied, making the original Log footage unusable.

On behalf of editors, I request better controls for exporting an animated GIF file from Premiere Pro. Currently, the file size of these files is often too large to post on websites and social media sites. The results are better using Photoshop > Save for Web (Legacy). Editors would rather not use Photoshop and simply need more control over the size and quality of the exported file. Is this possible?

This forum post currently has over 56,000 visits. Kindly upvote this feature request so that others may have this ability to create GIFs easily and with a lower file size. Thanks.

https://community.adobe.com/t5/premiere-pro-discussions/how-to-change-the-mb-size-of-a-gif/td-p/10786587

Recently, recording on tapes has decreased, and recording on cards has been increasing rapidly.
In particular, it is often recorded in AVCHD.
However, AVCHD is very cumbersome because multiple clips are stored in one file.
I can not handle clips as single files. There are several disadvantages associated with this.

1. It is inconvenient for delivery because the clip can not be treated as a single unit

2. When migrating projects with multiple editing software such as AAF and XML, file management becomes complicated and difficult to handle.

3. It is very confusing because each card has a clip with the same name (such as 0001.mts).
   It can not be renamed because it is stored in the AVCHD package.

It is difficult to manage files in various situations.
Also, if it is rewrapping, since the codec inside is not converted, the file size does not increase and it is easy to handle.
If rewrapping is possible, many disadvantages will be solved at once.
I hope you can use this feature.

AVCHDの素材を、他のフォーマット（MOVなど）にリラップしたい。
最近ではテープでの収録が少なくなり、カードでの収録が急増している。
特にAVCHDで収録することが多い。
しかし、AVCHDは、複数のクリップが一つのファイルに格納されていてとても扱いにくい。
クリップを単体のファイルとして扱えない。これによっていくつものデメリットが発生している。

1.クリップを単体として扱えないので、受け渡しに不便。

2.AAF・XMLなど、複数の編集ソフトでプロジェクトを移行する時、ファイル管理が複雑になり扱いづらい。

3.カードごとに同じ名前の（0001.mtsなど）クリップが存在するのでとても混乱する。
　AVCHDパッケージの中に格納されているため、ファイル名の変更もできない。

様々なシチュエーションでファイル管理がしにくくなっている。
またリラップであれば、中のコーデックは変換されないので、ファイルサイズも大きくならず扱いやすい。
リラップが可能になれば、多くのデメリットが一気に解決する。
ぜひ、この機能を使えるようにして欲しい。