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

So let's say I have two projects going - Video A for Client 1 and Video B for Client 2 We'll say I've already exported a version of each video to the correct (different) filepaths.
Lets say I have approvals on both projects - I export Video A for Client 1. Next, I open up Video B and export for Client 2. Even though this is a different project file, Premiere still defaults to my last export location - Video A for Client 1. Would be nice if Premiere defaulted to the last export location based on project instead of globally.

I tend to work on multiple, small projects for different clients in one day. Client folders are organized a few levels deep (client, year, project, outputs). I feel like there's a lot of time wasted selecting export paths. Very minor thing, but all that time adds up!

Hi, I often work with producers remotely. I send stringouts, they respond with selects, and so on. It'd be great to see an option to burn in my overlays (clip timecode, audio timecode, marker text, and whatever else I have selected to display.) in the export. This would be a lot easier for everyone watching to just jog thru footage and jump to sections of the video they want to see based on marker text. not everyone is on premiere so they cannot see the embedded markers. XMP data would also be a great option to include in overlays/burn in.

This is a longshot, but it'd also be great to see chapters added automatically based on markers with direct-to-youtube exports. Fairly simple, Just a matter of adding a time prefix in the description for each chapter automatically.

After Effects allows you to use Bicubic, bilinear, and nearest neighbor ("draft") for scaling. (Also known as "sampling" or "interpolation.")

Premiere should absolutely have the option for the Motion effect to use Nearest Neighbor. (It would still be bicubic by default, as it is now.)

This is very important for sprite art, screenshots, screen recordings, etc.

Here is a forum thread on the issue from 2012, where most people unfortunately don't even understand what the problem is:
https://forums.adobe.com/thread/1061901

NOTE: The TRANSFORM effect currently has the option for bilinear and bicubic. It would be good to add nearest neighbor here, but that should not be the ONLY place where it is available. The Transform effect still has severe issues with buggyness, instability, and choppy movement. Again, it is important that the MOTION effect has the option for Nearest Neighbor.

In almost every large documentary project I work on with huge amounts of different media there is always some bad media that causes massive playback issues, which is really frustrating when I need to work quickly.

While I like the fact you don't have to transcode everything to a native format like in Avid, therefore avoiding big and expensive workflows, I do think Premiere should assess all media upon import and tell you if it wont be able to play it back well, and if it can't then it should ask you if you'd like to transcode this media to a more premiere friendly format using Encoder, eg Pro Res.

Something like this would help all projects run smoother, without constant lagging and playback issues. Im on an iMac with 32gb RAM, 8gb graphics, 4.2 GHz Intel Core i7 - this should be plenty to run Premiere!

In both Premiere 2019 and 2020 waveforms of rendered audio from a nested clip are offset incorrectly in the timeline.

Sometimes they will display correctly immediately after an audio render, but after the first edit (trim, ripple, etc) the waveform is completely wrong. It appears to generated correctly but be offset by a significant amount when displayed.

This makes it impossible to use waveforms on Multicam or Nested clips if I've applied effects/gain to the audio in the nest, therefore requiring rendering.

This was working at the beginning of 2019. I'm not sure when exactly it went wrong. Thanks for your help.