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222 votesIn Progress ·
AdminFergus Hammond
(Product Manager, Video & Audio Cloud Workflows, Adobe DVA)
responded
Hi all,
There are two parts to this request:
1. Ensuring that proxies are created respecting changes that have already been applied to media via Interpret Footage.
2. Ensuring that changes in Interpret Footage are applied to proxies that have already been created.
The first part was done and is in v23 or later of Premiere Pro and Media Encoder. The second part is being worked on but I don't have a release data to share at this time.
Regards,
Fergus
An error occurred while saving the comment An error occurred while saving the comment TB54
commented
@Justin Beware, "speed/duration" is really not the same thing. This process will create inter-images, by interpolation or interpretation of the footage, and give a dirtier result than the original video.
We all use interpretation footage here specifically to avoid that (for instance to edit together 24 fps and 25 fps clips on the same timeline, as it's usual with archives, while keeping the video quality clean and not creating any inter-frame).
An error occurred while saving the comment TB54
commented
@Justin VanAlstyne I'm not sure to understand: "interpret footage" is the only way I see to modify the framerate of a clip without creating or calculating new frames - it's perfectly clean (to go from a 25ps footage to a 24fps one, for instance). Slowing down with speed/duration will create those inter-frames, whatever the chosen way.
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commented
This is turning me mad and making me very late for my edit right now - and even if you can match the framerate threw the Media Encoder trick, audio won't follow, so it's still useless.
That's exhausting and making edit of projects full of archive nearly impossible, please fix this.
EDIT: for those who have this problem but must use proxies anyway, here is a (pain-in-the...) solution: create your proxies manually. That means:
1) Go in Media encoder, import your video files, and create "proxies" by converting them into a lame codec (like ProRes Proxy for instance), while keeping the SAME RESOLUTION and audio tracks distribution (2.0 / 5.1) than the original files (very important).
2) Put the converted files in another folder.
3) Then, in your project, relink all your files to those proxies. At the end, when you must export, relink your elements to your original video files. Complicated, but it works, and allows you to interpret footage as you want. -
20 votes
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commented
That would also help me a lot, I loose a lot of time selecting them one by one.
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6 votes
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commented
I came here to ask that. Markers, specially the ones on a long period (from TC X to TC Y) would be a great tool to clarify an edit (to see quicly where on the timeline is the main edit, where is the alternatives, etc.)... only if there was an option to move those markers with the timeline as it changes. I use the Track Select Forward a lot, and it makes timeline markers unusable.
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5 votes
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commented
Same problem here.
In the wait of a bug fix, a temporary solution is to put the shot alone in a sequence #2 which has the same settings of the sequence #1 in which you edit, then to drag-drop this sequence #2 into your sequence #1 (like you would import a shot - it will appear green) : the effects you put on this sequence-shot won't change its ratio anymore.
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127 votesTB54
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144 votesTB54
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404 votesUnder Review ·
AdminPatrick Palmer
(Director of Product Management, Pro Video and Motion Design, Adobe DVA)
responded
Hi Florian,
while this is a rather critical and large change to the way the application works and will take some time to be implemented, we’ll definitely put this under consideration.
There’s more than one solution to this problem, though.
A good short term opportunity is to use the parallel install feature in the creative cloud application. It should help to at least take away some of the issues working with people on a different version of the application.
Another thing worth keeping in mind is that you can install CC on two different machines (if you’re on an individual subscription). That gives you additional opportunity to keep different versions around for compatibility reasons.
I’ll update the status of this request as we move along.
If you have further thoughts on this matter, please keep them coming.
Thanks
PatrickTB54
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24 votesTB54
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commented
I second this : the menu Bar (File / Edit / Help...) in Premiere Windows is the only full white element in an all dark background, and it can be very tiring for the eye after hours of work.
I add my protest to the other ones: this is not at all the solution has been asked by 200+ people here since 2018. Proxies should just behave like the real files, whatever you apply to them. I would prefer Adobe to take more time to work on the real solution (which is still for me the major problem on Premiere Pro right now) rather than this fake fix which will delay the real fix needed for who know how many more years...