44 results found

1. More Anamorphic Pixel Aspect Ratios please (1.5x, 1.6x & 1.8x)

   With all these new Anamorphic lenses coming on to the market. We need more 'Common pixel aspect ratios' to choose from. In the Interpret Footage menu we can only choose 1,33x or 2x anamorphic. We need 1,5x 1,6x and 1,8 as well!

   Can you guys please include this option in the next Update? This should not be to much of an issue to fix, but it safes us a lot of time! Now I constantly need to change the width and height of every clip on the timeline.

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   In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

   Hi all, 

   We are currently working on improving support for footage shot on anamorphic lenses. The first step was to ensure that metadata in formats like ARRIRAW is getting read correctly by Premiere Pro - and that's in beta now - but we have more work to do to add additional lens squeeze factors, potentially adding a custom field for this. 

   Regards,

   Fergus

   
   

2. Color Management Panel

   There are a good number of new color management settings and changed color management defaults in the 2022 release. I would expect we will be getting more as we go along. This is becoming a nightmare to manage!

   We need a single panel. One with perhaps two tabs:
   1) The overall Default options for color management settings, and for default options for various media types.

   2) The Override tab for clip or sequence overrides, covering the same items as in no. 1.

   Essentially, One Panel To Rule Them All.

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   In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

   We hear your frustrations about color management and we are working on multiple improvements. 

   I recently posted a note on Alister Chapman's excellent xdcam-user.com forum, in response to a post he'd made about color management in Premiere Pro. 

   While my response doesn't go into details on our long term plans, it describes what we're doing in the short term to make handling of log footage easier. 

   Here's what I wrote:

   
   

   Hi all,

   I’m a product manager at Adobe, on the video team. I thought I’d chime in to provide some info on what we’re doing.

   Color management is not going away – quite the opposite. As HDR-capable cameras and displays are becoming the default, and shooting in log or raw is becoming the norm, color management is critical. Gone are the days of only Rec709, the one color space to rule them all.

   You might have seen reports about HDR iPhone media not looking good in Premiere Pro. And you might have seen the great video my friend Karl made to explain the issue: https://youtu.be/odwptnEhxJs

   The problem occurs when HDR media is displayed on an SDR timeline. We’re attempting to squeeze wide color range footage into a small color space. Without a manual change, either to the footage or the timeline, the results look blown-out and bad.

   Our vision for color management in Premiere Pro is simple. You can drop footage in any color space onto a sequence and we will automatically convert the colors and range with pleasing tone mapping, and provide controls to tweak the tone mapping. You don’t need a LUT, the result is likely to be more accurate than using a LUT, and there won’t be any concerns about clipping. Of course, if you’d prefer to work with a LUT, that workflow will still be supported.

   Some of this is available now, like us recognizing some (but only some) color spaces. But that’s the problem with color management: it is complicated enough without having to worry about which pieces are available and which are not.

   So, as we are adding the remaining pieces, finessing our math, and working out the user experience, we are first going to add an application preference. You’ll be able to choose whether you want Premiere Pro to automatically use the color space of your log footage or whether you’d prefer that it is treated as Rec.709. There’s more than one way to do color and by adding this preference, you’ll be in control of how you’d like Premiere Pro to work by default (a default you can easily override for specific clips).

   Regards,

   Fergus

   
   

   
   

   We hear your frustrations about color management and we are working on multiple improvements. 

   I recently posted a note on Alister Chapman's excellent xdcam-user.com forum, in response to a post he'd made about color management in Premiere Pro. 

   While my response doesn't go into details on our long term plans, it describes what we're doing in the short term to make handling of log footage easier. 

   Here's what I wrote:

   
   

   Hi all,

   I’m a product manager at Adobe, on the video team. I thought I’d chime in to provide some info on what we’re doing.

   Color management is not going away – quite the opposite. As HDR-capable cameras and displays are becoming the default, and shooting in log or raw is becoming the norm, color management is critical. Gone are the days of only Rec709, the one color space to rule them all.

   You might have seen reports about HDR… more

3. Cursor Frame Behavior (Affecting In Out, Ripple Edits)

   Cursor Frame Behavior (Affecting In Out, Ripple Edits).

   Ok team, I know you had some guy complain about how the Cursor works in the timeline, and now you changed how it works, which completely screwed over the Ripple Trim to Previous Edit.

   What WORKED before yesterday was if you were on the front of a clip in the timeline, and you hit the Ripple Trim to Previous Edit, it would remove the first frame and obviously move the entire timeline up a frame to compensate.

   THIS WAS INSANELY HANDY because if you're trimming a clip, you could just hit that button a few times and make it work right.

   Now, because you guys changed how the cursor works, I have to hit Right on my keypad, and then hit the Ripple edit button, and it'll remove that first frame.

   Guys, you seriously screwed over an entire generation of editos who know how editing works. I know some people complain about how the cursor works, but this sucks.

   Why not just create a preference option where you can make the Cursor act like FILM or act like it is now. All NLEs were based on film editing, which lots of people expect and relied upon. Now, I have to hit an extra keystroke all the time which is massively time consuming.

   Can you please just put in a preference option to revert back or not? That would solve this issue for everyone instead of bowing to people that don't understand NLE history.

   Cursor Frame Behavior (Affecting In Out, Ripple Edits).

   Ok team, I know you had some guy complain about how the Cursor works in the timeline, and now you changed how it works, which completely screwed over the Ripple Trim to Previous Edit.

   What WORKED before yesterday was if you were on the front of a clip in the timeline, and you hit the Ripple Trim to Previous Edit, it would remove the first frame and obviously move the entire timeline up a frame to compensate.

   THIS WAS INSANELY HANDY because if you're trimming a clip, you could just hit that… more

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4. proxy color management

   The new color management options in 22.x versions break the proxy color and dynamic range, when using LOG or HLG/PQ original clips that have been over-ridden to Rec.709 with an input LUT.

   The original clip on the Rec.709 sequence is 'normalized' correctly. But when you then go to create proxies, the CM is not used in creating the proxy.

   What you get is a blown out useless mess of an image as your "proxy".

   Not a correctly viewable image in the same color space as the original clip and the sequence.

   We need the proxies to follow the clip Color Management.

   The new color management options in 22.x versions break the proxy color and dynamic range, when using LOG or HLG/PQ original clips that have been over-ridden to Rec.709 with an input LUT.

   The original clip on the Rec.709 sequence is 'normalized' correctly. But when you then go to create proxies, the CM is not used in creating the proxy.

   What you get is a blown out useless mess of an image as your "proxy".

   Not a correctly viewable image in the same color space as the original clip and the sequence.

   We need the proxies to follow the clip Color… more

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   In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

   Hi, 

   This something we're aware of and working on. I don't have a date for a fix but the work is well underway - we know exactly what the issue is and the correct way to solve it. 

   Regards, Fergus 

5. Please make 96khz Audio Export possible again.

   I work for a company that creates learning videos for Instruments.
   Our integrated player has a slowmotion function. For that purpose we used to Export videos (.h264 mp4) with AAC audio in 96khz.
   That made the audio quality much more clearer when played in half time. One day this function wasn't available anymore since today. Also the newest update. Pleeease make this option possible again.

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   In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

   Hello Joannis, 

   I've sent you an email to get more information about  the issue you are reporting. Sampling rate export options have not changed in Premiere Pro for several versions, so understand what you're seeing in more detail will be useful. 

   Regards,

   Fergus

6. AAF imported sequences not playing on Apple Silicon machines

   ISSUE

   Video Sequences imported from a linked AAF do not play back on Apple Silicon Macs. However, the same imported sequence/project plays back fine on Intel based Macs.

   STEPS TO REPRODUCE:

   1. Export an AAF from Avid Media Composer (or DaVinci Resolve...the issue occurs with AAFs exported from both apps), using linked media, not embedded

   2. Import the AAF into Premiere Pro (22.4) on an Apple Silicon Mac (launching Premiere in Rosetta 2 mode)

   3. Park the playhead anywhere in the imported sequence. The frame under the playhead does not appear in the Program Monitor until after an inordinate amount of time (usually 15 seconds on my 2021 Macbook Pro MAX)

   4. Open the source clip in the Source monitor, and try to scrub or park the playhead on the clip. The same behavior occurs, where it takes 15+ seconds for the frame to be displayed

   TROUBLESHOOTING NOTES:

   1. Re-importing the source clip into the project––directly from the Finder––yields normal playback/scrubbing performance, even when edited into the same AAF imported sequence.

   2. The same behavior occurs, regardless of if Premiere is running in Rosetta 2 emulation mode or not

   3. The issue occurs with AAFs created with either Avid Media Composer or DaVinci Resolve

   4. Taking the same .prproj file containing the AAF imported sequence, and opening it on an Intel Mac, results in normal, expected timeline playback/scrubbing performance

   5. Initially importing the Avid AAF into a prproj file on an Intel Mac, then opening that same project on an Apple Silicon Mac does not resolve the issue.

   6. The issue occurs when testing with multiple different clips from different sources.

   7. The issue occurs even on the simplest, cuts only test sequences (e.g. no effects, no speed changes, not resizing etc)

   8. Attempting to work around the issue on the Apple Silicon machine, by reimporting the source clip into the project, then doing Replace Edits on each timeline clip, does not work. The replace edit links to the entirely wrong timecode when doing this.

   9. Deleting Media Caches does not solve the issue

   10. We reproduced the behavior on different M1 Macs in two physically separate locations (so the issue is not related to shared storage)

   11. XML imports of the same sequence (exported from DaVinci Resolve) work fine on the Apple Silicon machines

   VIDEO SCREENCAST DETAILING THE ISSUE:

   https://youtu.be/bCohCE5YfZM

   ISSUE

   Video Sequences imported from a linked AAF do not play back on Apple Silicon Macs. However, the same imported sequence/project plays back fine on Intel based Macs.

   STEPS TO REPRODUCE:

   1. Export an AAF from Avid Media Composer (or DaVinci Resolve...the issue occurs with AAFs exported from both apps), using linked media, not embedded

   2. Import the AAF into Premiere Pro (22.4) on an Apple Silicon Mac (launching Premiere in Rosetta 2 mode)

   3. Park the playhead anywhere in the imported sequence. The frame under the playhead does not appear in the Program Monitor until after an inordinate amount of time (usually… more

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   In Progress  ·  AdminBruce Bullis (Adobe) (Admin, Adobe DVA) responded

   Fixed in 23.1 beta.

7. shift + drag solo audio tracks

   Shfit + Click and drag on solo button selects and deselects solos for each track dragged over. This allows you to solo say A5-A8 in one action instead of having to click the solo button for each track.

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   In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

   Hi Ryan, 

   Boy, do I have good news for you!

   https://community.adobe.com/t5/premiere-pro-beta-discussions/click-and-drag-to-select-multiple-track-targets-in-premiere-pro-beta/m-p/13171928#M6300

   We were originally going to release this feature for just track targeting but based on feedback like yours, decided to keep working on it to add more capability. It will ship later this year but it's available now in beta if you'd like to try it out. 

   Regards,

   Fergus

   
   

8. Timecode bug with Sony FX3 and possibly FX6 footage

   Premiere pro cannot detect the timecode embedded in Sony FX3 footage. This timecode is not audio timecode, but embedded timecode using their new dongle and a Diety TC-1 timecode box.

   Davinci can detect and sync the timecode in seconds while adobe premiere has the timecode option for syncing grayed out.

   Please implement the following changes:
   -Sync entire folders of footage using timecode even if a few clips are missing timecode (put clips with missing timecode at the start or end of the sync). Currently, the sync fails if any clip is missing timecode. Our b-roll does not have timecode and it's very time-consuming to have to sort clips just for a fast sync.
   -Detect timecode in Sony FX3 and Sony FX6 cameras just like Davinci

   Premiere pro cannot detect the timecode embedded in Sony FX3 footage. This timecode is not audio timecode, but embedded timecode using their new dongle and a Diety TC-1 timecode box.

   Davinci can detect and sync the timecode in seconds while adobe premiere has the timecode option for syncing grayed out.

   Please implement the following changes:
   -Sync entire folders of footage using timecode even if a few clips are missing timecode (put clips with missing timecode at the start or end of the sync). Currently, the sync fails if any clip is missing timecode. Our b-roll does not have timecode and… more

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   In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

   Hi Phillip, 

   We are aware of this issue and have developed a fix for it. If you'd like to test it, it is in the beta of Premiere Pro - v23.1 - that is available in the Beta apps section of the Creative Cloud app. 

   Also, I believe this only occurs when you choose to embed a LUT in the XAVC file. Perhaps not embedding the LUT would be a workaround for you. 

   Regards,

   Fergus

9. Could the Premiere Pro Developers Create A Massive Gap Removal Function?

   Scenario:
   I'm editing a video that is a documentary-style film about someone's life. I have four interviews that are ranging from 15-40 minutes.

   The application of the idea:
   I'm going through each interview and there are significant pauses between answers which makes playing through the edit more time-consuming. I've already trimmed big pauses out but there are still smaller pauses (5-8 seconds) that I'm going through.

   Could the team create a function that would trim the video based on the volume level of the clip? So, any clip that didn't meet a certain threshold of decibels would be eliminated. Obviously, there would be a cushion/sensitivity slider so the cut isn't made directly when the person talks, this gives them a margin. But this function could automate tons of time going through and trimming parts of the video.

   Scenario:
   I'm editing a video that is a documentary-style film about someone's life. I have four interviews that are ranging from 15-40 minutes.

   The application of the idea:
   I'm going through each interview and there are significant pauses between answers which makes playing through the edit more time-consuming. I've already trimmed big pauses out but there are still smaller pauses (5-8 seconds) that I'm going through.

   Could the team create a function that would trim the video based on the volume level of the clip? So, any clip that didn't meet a certain threshold of decibels would be eliminated. Obviously,… more

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10. Proxies for certain non-integer framerate media (CFR & VFR) cause massive playback issues

    Creating and attaching ProRes proxies for media with certain framerates causes terrible/non responsive playback in CC 2022 and up. CC 2021 and older do not have any of these issues, even when attaching the same proxy files created in a newer version.

    This seems universal for most variable framer rate media, for example VFR media sourced from web livestreams. But also certain CFR media such as 119.88 (120000/1001) fps XAVC S captured on a Sony A7s III.

    Oddly enough interpreting the footage at the desired framerate seems to fix the issue. I attached a video showcasing the issue and the interpret framerate workaround.

    Sample 119.88 fps footage used can be found here: https://mega.nz/folder/FsMTHArJ#_j9q1P2t3ubVHX8lGfiJJw

    Creating and attaching ProRes proxies for media with certain framerates causes terrible/non responsive playback in CC 2022 and up. CC 2021 and older do not have any of these issues, even when attaching the same proxy files created in a newer version.

    This seems universal for most variable framer rate media, for example VFR media sourced from web livestreams. But also certain CFR media such as 119.88 (120000/1001) fps XAVC S captured on a Sony A7s III.

    Oddly enough interpreting the footage at the desired framerate seems to fix the issue. I attached a video showcasing the issue and the… more

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    Hi Andreas, 

    Thanks for reporting this. We are aware of this issue - we can across it when reviewing a test file library we created with the Sony FX3 - and have a bug logged for it. I don't have a date for when it will be fixed but it is definitely on our radar. 

    Regards,

    Fergus

11. Implement your beta features

    For a long time now there have been features in your beta version that I would LOVE to see implemented in an update.

    1: The metadata effect. This enables me to burn-in info other than clip name, clip TC etc.This effect enables the user to burn in any info from any column in the project window into an export. This is super valuable as the sound department loves seeing slate info burned in. Sidenote: the new metadata effect doesn't seem to work too well yet, so maybe sort that out first. When I try to burn-in the "scene" or "shot" column it randomly works or doesn't.

    2: THIS IS A BIG ONE!!!! In the new beta, users can CMD click and simply drag over sources and targets left of the timeline rather than clicking through them one by one. This one is huge! Please implement is asap!! Currently I have my targets bound to shortkeys, but it only allows me to go up to 8. I regularly work with 30+ tracks so this feature would be killlllller. Please make me happy <3

    For a long time now there have been features in your beta version that I would LOVE to see implemented in an update.

    1: The metadata effect. This enables me to burn-in info other than clip name, clip TC etc.This effect enables the user to burn in any info from any column in the project window into an export. This is super valuable as the sound department loves seeing slate info burned in. Sidenote: the new metadata effect doesn't seem to work too well yet, so maybe sort that out first. When I try to burn-in the "scene" or "shot"… more

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    We're on it! :-)

    I just provided an update on the track targets features in our beta forum. Check it out here. The beta forum is the best place for giving us feedback on features that are already in beta. 

    Regards,

    Fergus

12. Bug: 960x540 DNxHR LB clip in MXF OP1a container stays as media pending after import and wrongly shows as 1280x540

    We rendered a 960x540 DNxHR LB clip in MXF OP1a container out of DaVinci Resolve.

    Upon trying to import it into Premiere Pro, the Project Panel metadata wrongly shows that clip as being 1280x540, even though VLC and DaVinci Resolve show it correctly as 960x540. After importing, the clip is stuck showing the "Media Pending" graphic and won't show that actual footage.

    Rendering the same clip from DaVinci Resolve as 960x540 DNxHR LB in a QuickTime MOV container allows Premiere Pro to import the clip fine, show it correctly as 960x540, and show the footage just fine.

    So this appears to be some kind of nasty bug from Premiere Pro with the MXF OP1a container and DNxHR LB footage at this resolution.

    We rendered a 960x540 DNxHR LB clip in MXF OP1a container out of DaVinci Resolve.

    Upon trying to import it into Premiere Pro, the Project Panel metadata wrongly shows that clip as being 1280x540, even though VLC and DaVinci Resolve show it correctly as 960x540. After importing, the clip is stuck showing the "Media Pending" graphic and won't show that actual footage.

    Rendering the same clip from DaVinci Resolve as 960x540 DNxHR LB in a QuickTime MOV container allows Premiere Pro to import the clip fine, show it correctly as 960x540, and show the footage just fine.

    So this appears… more

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    Hi Seth, 

    We're looking into this. Quick question for you: does your workflow rely upon MXF OP1a? I'm wondering if - in the short term - using the MOV container is ok. As always, we have more things to do than resources to do them so wanted to check with you about the impact of this bug. 

    Regards,

    Fergus

13. Getting asked 3 times to confirm overwriting a file is overkill

    Premiere version 22.5.0

    I used an existing filename to overwrite an existing file and had to confirm that I wanted to overwrite it 3 times in three different popup windows. 3 TIMES??? Such a waste of my time. One confirmation is a great way to not accidentally overwrite a file. It used to be 2 and that was a little annoying, but now 3. I really don't understand.

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    Hi Pete, 

    We're aware of this problem. It was a side effect of restoring the ability to set the filename from a previously exported file. We decided it was important to restore that ability quickly. We do plan to fix the duplicate (two duplicate!) warnings in an upcoming release. 

    Regards,

    Fergus

14. PP tells AME to overwrite files (again)!

    Since the 22.3 update when I export a file that I need to overwrite and I send it to AME, AME doesn't overwrite the file like before, despite telling PP to 'Replace' the file. Even the 22.3.1 update didn't fix this.

    2 votes

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    This has now been logged as a bug and we are looking into it. Sorry for the delay!

    Regards,

    Fergus

15. Bug: Using Export Frame on clips with proxies (even if proxies not toggled), results in low res JPGs

    Using Export Frame on any clip with a proxy attached (even if proxies not active) results in JPGs and PNGs in the proxy-resolution. This seems to happen at random.

    During some troubleshooting, oddly it seemed to matter which window (ie Program, Timeline, etc..) was active (highlighted in blue) but this actually reversed between different projects, and ultimately using Export Frame results in low-res and full-res frame grabs at random.

    Clips that don't have proxies don't seem to have this issue.

    Native media in my examples were .mxf and .mp4

    59 votes

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16. MXF OP1a Strobing on Sequence in V22.5 Bug

    MXF OP1a clips strobe when played on a suitable sequence in V22.5. The strobing appears to be a grey overlay on 4K clips shot in Rec 709 color space and is very bad. Rolled back to V22.4 and the issue is not present. Please issue a fix to this asap.

    1 vote

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    We are aware of this issue and working to fix it in the next version of Premiere Pro. 

17. Aspect Ratio glitching when editing any text or Mogort on the timeline. M1 Max

    Aspect Ratio glitching when editing any text or Mogort on the timeline. M1 Max. Sometimes freezing on the incorrect aspect ratio. Causing me to wait for it to pop back to normal, or restart the program.

    Here is a video example: This can be replicated 100% of the time, so it's not a random happening. This also happened on my old 2017 iMac. It's been this way for over a year I believe.

    https://www.youtube.com/watch?v=w82V57RkuEs

    My Setup:
    -2021 16-Inch Macbook Pro
    -M1 Max
    -64 GB RAM

    Thank you

    •  

    3 votes

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18. Provide the ability to notify the user once render queue is complete.

    Provide the ability to notify the user once render queue is complete, such as in after effects by checking the "Notify when queue completes" checkbox.

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    3 votes

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    Hi Edgar,

    This feature is coming to Adobe Media Encoder. When release, Media Encoder will be able to send you a notification (just like After Effects does) as each job completes, when all the jobs have completed, or both.

    This is available in the beta of Media Encoder right now.

    Regards, Fergus

19. Bug Premiere Pro 2020 crash when changing sequence settings

    In the latest version I'm able to crash Premiere every time I make changes to a sequences setting - e.g. put in a new frame rate, change field order etc.

    39 votes

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    In Progress  ·  AdminDacia Saenz (Senior Quality Engineer, Adobe DVA) responded

    The fix for this bug can be found in Beta build 22.0 × 144 or after. If no issues new issues are reported, the fix will be in the next shipping version of Premiere.

    Thanks for your patience.

20. ProRes RAW ISO, white-balance and tint controls

    Give ProRes Raw control over White-Balance, ISO and tint in raw controls as well as log conversion. Then it will be useable.

    75 votes

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    In Progress  ·  AdminFergus Hammond (Product Manager, Video & Audio Cloud Workflows, Adobe DVA) responded

    Hi all, 

    I'm a product manager in the video team at Adobe and I've recently become the product manager specifically responsible for formats. 

    My apologies that we have not responded already to this post. ProRes RAW is definitely important to us - and, more specifically, the additional controls that are being ask for here. 

    Raw support is very important to us, particularly as it becomes more common thanks to devices like the Ninja V and cameras that support it directly like the Nikon Z9. 

    Currently, there are two raw formats ahead of ProRes RAW in terms of urgency for us to support better. I understand that might be frustrating to people eager for better ProRes RAW support but I want ensure you all that it's not a matter of indifference or neglect. 

    While I don't have a date for improved ProRes RAW support that I'm willing to share at this point, I will update this note when that changes. 

    Lastly, I'm alway happy to talk 1:1 with you about our formats support. It's critically important to us and getting your feedback directly is always welcome. 

    Regards,

    Fergus

    Hi all, 

    I'm a product manager in the video team at Adobe and I've recently become the product manager specifically responsible for formats. 

    My apologies that we have not responded already to this post. ProRes RAW is definitely important to us - and, more specifically, the additional controls that are being ask for here. 

    Raw support is very important to us, particularly as it becomes more common thanks to devices like the Ninja V and cameras that support it directly like the Nikon Z9. 

    Currently, there are two raw formats ahead of ProRes RAW in terms of urgency for us to support better. I understand that might be frustrating to people eager for better ProRes RAW support but I want ensure you all that it's not a matter of indifference or neglect. 

    While I don't have a date for improved ProRes RAW support that I'm willing to share at this… more