I would really like to see more work be done on the Direct Publishing features that make it more automated when posting to social media, My suggestion would be to have the ability to have either a file or panel (some sort of dashboard) that has default content and an area to add a description that then gets updated into each preset in any given designated watch folder settings, essentially automatically propagating to all platforms with related Tags updated in the dashboard and only having to render out one file and thus posting to all platforms (using predetermined Presets nested in Watch Folders)

As it stands now one can automate the output of the individual file sizes and codecs for each platform but then will have to post each video to each platform manually. Or one can go into each social media setting and set default content for each preset but will have to add post specific content on a case per case basis for each file being exported (this mostly being duplicated for multiple platforms, with some exceptions). This being said it would be great to be able have a way to manage the user defined Direct publishing Presets without having to go into each context menu for each Publish.

AE Grain effect is one of the powerful grain Ive seen.
I mainly use it to cancel banding (OnionRings) when encoding to MP4s.
It should be used as effect inside of encoder+be much faster because it is a very heavy effect.

Adding grain to a file makes it easy to get rid of banding, AE Grain effect knows:
1. To put grain in places based on highlights and shadows(where the risk of banding is usually high)
2. To put different amount of noise on different color channels. (Usually its enough for the encoder to have more detail in the blue channel ans less on the red and green, so there is no need to destroy the all quality of the picture.

When reading sequences of files AME Should do it automatically from folders. Choosing one folder and AME will load all sequences it recognize in that folder tree. Like AE but little bit better.

Maybe even give us a list of formats it recognizes for us to choose from:

"AME Found files in this folder and its folder tree. please select which files you want to load to the Q and how:"

name.jpg (read as a seq) choose to: *load as seq *load as files
name.mov
nameB.jpg (read as a seq) choose to: *load as seq *load as files
name.png (read as a seq) choose to: *load as seq *load as files

.dng files, when turned into proxies, are automatically renamed so it's impossible, even with the 'rename files if there's an identical file' thing unchecked, to make proxies with the same name as their original Raw DNG files without doing it manually, one by one, in file explorer. Which would be insanity.

Fortunately, offline raw files reconnect to proxies easily when searching for media start time instead of file name. BUT THEY DON'T GO BACK. God in heaven, I ******* wish they did. You can't out the proxies offline and reconnect them to their raws again. You can go forward, but you can't go backward. It's madness. You have to do every. single. one. at. a. time. If you have the 'reconnect automatically' selected and manage to manually reconnect one file to its original raw, the entire program will just **** itself until you force it to close or the world ends.

Tens of thousands of professionals in this field use Black Magic Cameras. Please find some way to make the worldflow sane, before we lose our collective minds (as I already have).

When I export my lower thirds from AE (easily 400+ per project) I select the self created preset "GoPro-NoSound" in AE. But when I queue it in Media Encoder, the settings are lost. It is not even a Quicktime file, it is a default MP4. I first need to select all files in the queue and re-set it once again in Media Encoder to the settings I already set in AE.

This is a long standing bug. And it annoyed me even more today, as due to me updating all CC programs, the saved preset of the previous version are wiped off the disk and I had to re-create it once again. So making this a 2 bug-topic this time.

Media Encoder 12.1.1 (Build 12)

(Note I posted this in the Premiere forum as well, but am posting here since AME is part of the process and may be responsible for the issue)

This has been a bug since 2016 I think. The P2 camera I use has custom names for each clip. Nothing outlandish, just the camera operator's name and successive numbers. When importing via the "import" checkbox in Media Browser (the operation that launches AME and copies the contents of my card to the drive I want to use) the filenames get changed back to the Panasonic random clip name.MXF. Would be fantastic if you could address this bug. My workaround if I want to keep the names is to copy the Camera contents via Windows to the folder I want, then import via Media Browser without checking the little Import checkbox, and the names stay the same. The obvious drawback is I can't begin to look at the media until the copying is done and the import takes place. (Windows 10 system -- have tried on multiple Win 10 systems all produce the same results. This one has stumped your phone support as well as experts who have written books on your software, so I know it isn't just me)

As I process broadcast files, most of them have ten seconds of idents at the start and 5 seconds of hold on the end.

It would be great it there was a setting under 'effects' to tell media encoder to automatically remove x amount of frames from the start and end of the clip. You can adjust this to suite so you are left with only the actual content.

An additional feature would be to ask media encoder to add a hold onto the end of a clip. For instance broadcast files have 5 seconds hold, but other content delivery companies want ten seconds. So it would be helpful to tell media encoder to add x amount of frames as a hold on the end.

Root6 Content Agent Encoder Software and Telestream Vantage have this feature.