Baffy19
My feedback
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4 votes
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0 votes
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commented
The Lumetri panel must be rebalanced all over again. It is outdated and the tools need updating. It feels like you're working with an unfinished version of the program. There should be tools for balancing not only shadow, midtones and highlights, but also black points, white points, shadow balancing, upper and lower midtones, and also be able to balance the frame with an offset wheel, which is not present in PrPro. It is by means of the displacement wheel that the frame is balanced in a second, with minimal corrections.
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6 votes
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commented
I have been suffering for a long time because of the lack of resetting settings in each individual color correction toolkit. This is a distant century without having such an opportunity. I have a feeling that developers are creating a product and do not fully use the tools themselves and do not see any inconvenience in using them. This should be as soon as the toolkit is created and a reset button is under each one.
Baffy19
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3 votes
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commented
This is a really interesting addition when it is necessary to completely isolate an object from the external environment in order to place graphics behind the object or perform color correction in the Pr itself. But, I think, the developers will not dare to take such a step. Will refer to AE.
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6 votesBaffy19
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9 votes
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commented
Adobe developers, dear sirs, I ask you to update the functionality of the Lumetri panel as soon as possible in order to work seamlessly with color. Now we are seeing stuttering and unresponsiveness in the display of Scopes when the color changes in the clip. Scopes freezes and does not respond to the adjustments being made, which makes it impossible to determine the changes being made to the colors. This has been unbearably going on for a year. I would like to see professional rebalancing of color correction tools, interpretation of the color space here, interpretation of the clip in the color profile, add mask tools and gradients when working with a certain area of the image. Make a professional product. Time does not sleep and we need these tools.
Baffy19
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@Tomas Lowery good advice, but it's for a while. Then Scopes again does not respond to changes when working with color. It stutters and freezes for 15 seconds. And so quite often. This responsiveness problem has been persisting for quite some time and is being overlooked in order to fix it.
@Baffy19
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commented
This problem still persists with Scopes display areas. When changing the color adjustment in the shot, Scopes freeze and do not show changes in real time. How long it takes to fix the basic things, without which it is simply impossible to work.
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commented
Now the same situation is observed in version 22.1.2. The lumetry areas freeze for a long time and do not react to the changes made to the color. Scopes are also displayed incorrectly, as if they deform when opened to full screen and freeze.
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8 votes
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commented
I've been dreaming about this opportunity for a long time. Or alternatively, I would just like to select the entry and exit points on the timeline and in the Export panel be able to select separate clips for output. This is the perfect solution. It is clearer and easier than installing marker. Although it would be nice to have different options for Exporting clips as stand-alone ones. You just need to add an additional button to the Adobe engineers in the Export panel as an output of separate media.
Baffy19
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36 votes
This is a good suggestion. I agree this needs work.
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commented
I support the author of the article and it is really necessary to release flexible settings for different aspect ratios. Now it is outdated and does not work as we would like to see without self-correction and fitting media into the sequence frame.
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commented
Set to frame size - reduces the frame to the size of the sequence only in proportion to the correct display on the screen. This changes the Scale parameter from 100% to 50%. This option does not cut pixels from the image, allowing you to get a better result if you want to scale this image back to 100%. The image remains in its original quality.
Scale to frame size - reduces the frame in accordance with the size of your sequence, while the Scale value remains unchanged 100%. This means that this parameter cuts out extra pixels from the image, making it from the original resolution in a reduced version. You will not be able to return the image to its original state. This method is used only when there is no need to subsequently enlarge the images for the Zoom effect. -
361 votes
Thank you for your feedback. This is under review.
Baffy19
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Add the ability to export a timeline with the option to choose as a single clip or as separate self-standing clips. This feature in the Export panel is extremely necessary and important. This special function will be useful for the output of clips for simplified transfer of material to a colorist or visual effects artist, a sound engineer for the design of scenes where you can work with each individual clip. At the same time, having the opportunity to reduce the time for comforming (preparation of material for transmission), and matching on a timeline in another NLE. Such an opportunity would be an excellent addition to the output of the material for its specific component.
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213 votes
This is not a bug, it’s as designed. We specifically limit the visibility to one track at a time to avoid accidentally burning in multiple tracks. Also, when exporting to a format that only supports one captions stream like SRT or STL, we need to know which is the active track in order to export the correct track.
But I understand why you might need two tracks visible at the same time.
Multiple speakers:
If we could automatically identify speakers and designate a style associated with them, would that help? For example speaker 1 is blue and on the left, speaker 2 is yellow and on the right?Multiple languages:
Do you ever need to burn in both at the same time or is it just a matter of being able to see both to aid in translation and alignment?Thanks for the feedback, we really are listening :)
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commented
The saddest thing of all is that users have been wanting this feature for more than a year. What does it mean? And there are a ton of such topics to take into account on this site. Make a **** product in demand for professionals.
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commented
It is ideal to have a color difference for different speakers and two tracks with subtitles to distinguish them.
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3 votesBaffy19
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4 votes
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commented
This is not just an important aspect in the work of every filmmaker. This is the "air" without which it is difficult to do large projects with multiple camera angles.
Baffy19
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4 votesBaffy19
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3 votesBaffy19
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18 votesBaffy19
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1 voteBaffy19
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297 votesBaffy19
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Working with masks and keyframes is the worst thing that Premiere provides us with. What is the peculiarity of making the principle of working with masks as in AE? There should be a single management principle. Now in one program (Pr) it is possible so, in another (AE) it is completely different. We need to come to a single decision, then it will be easier to master the skills of high-speed work.
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51 votes
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commented
When will the freeze at double the viewing speed in the program monitor be fixed? This error has been going on since v. 22.0. No results so far.
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commented
There is some work in this direction. I hope the long-awaited nuisance will be eliminated in the next update. Here is a review, check out:
Baffy19
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122 votes
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commented
Here you also need a setting to restore overexposed frames. Often, clients provide materials where some moments are ruined by excessive light from camera sensors. To save details in light areas, this function is extremely important. Another thing that is needed on the color page is matching frames by black and white points, not just the entire frame. Because the Match Frame that exists now, it overwhelmingly does not always bring results.
An error occurred while saving the comment Baffy19
commented
Adobe developers, do you hear the opinion of users??? How much writing does it take for you to solve the **** color management setup. I've been tormented by setting up this nightmarish color redefinition, which doesn't work properly and spoils the clips on the timeline.
An error occurred while saving the comment Baffy19
commented
Add the ability to set the color space on the color bar using Input color for media. This is vital for controlling the color process for shots.
An error occurred while saving the comment Baffy19
commented
We need to rebalance the Lumetri panel and add new tools to fine-tune the color. Now it is difficult to paint the material perfectly with a narrow toolkit. Nowadays, customers require a more complex gradation of color than just highlighting a color and changing its value.
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commented
To be honest, there are not enough more flexible tools in the color panel. For example: restoration of overexposed frames, as well as a gradient tool for more accurate correction of certain areas in the clip.
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commented
I support Neil's request.
Please make the color management settings panel more convenient in one location, and not across the entire Premiere program, as it is now. That's exactly what confuses people and many miss the opportunity to set the correct settings for the correct display of color.
And secondly, pay attention to the fact that now the function of displaying LOG material through a third-party LUT does not work correctly in the Interpret footage tab. The folders themselves are placed on computers with third-party LUT in the right place in agreement with Adobe support. As with me and many others, when using LUT in the specified panel, the correct interpretation of the material occurs on the timeline, and in the program monitor the colors will be displayed without LUT. Why no one sees it and does not correct it. This feature was introduced in the new v release.22 and still not fixed.
Pay attention.Baffy19
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It is necessary to expand the functionality of Pr, and not to narrow the possibilities. I sincerely regret the current state of affairs with the effects. I have repeatedly pointed out on the forums that it is necessary to modify the standard effects. In addition, not all effects have GPU acceleration, which affects performance. Also, there is now a need for new effects. They are not being developed. Make new ones, I can tell you if your head is full of garbage:
we, the editors, need the effect of restoring broken frames - frame replacer; we need a special effect of removing the flicker in the frame; we need to add a halo effect on the edges of the object (halation) + bloom, now popular in the media environment; we need a shaking effect; we need a new balanced frame stabilizer; we need a normal outline effect of the object; we need a simple masking effect by copying from the specified part of the image and overlapping minor flaws in the frame; we need a cleaning effect scratches and dirt in the frame. At least these are for starters.
How long to wait for these new effects? Is there any hope of improving progress in the work and expanding the program's capabilities?