Yes please! Just shot my first tests with a Z7 and my new atomos shogun recorder, and have been looking all day for an N-Log lut to import into lumetri with no luck
Thanks for all the feedback. It’s pretty clear that we’ve got to look into the workflow using this format more closely, there are enough reports about gaps at this point to reopen this item. I’ll post more info about next steps shortly. In the meantime, a couple of questions are easy to answer:
- The plugin is designed for Premiere Pro. It currently doesn’t provide support for After Effects.
- It does work with AME, so if you want to use it for batch processing, that’s very doable
- If you’ve started a project with Autokroma, there’s no easy way to transfer it to be running with the new plugin.
Tactically I think it makes sense to pursue BRAW, if you can. ProRes Raw is being held up by Apple- currently the ONLY post production package that supports it being FCP X. Who knows how long they'd like to keep it that way.
I know Adobe and Blackmagic are competitors on some fronts, but not like Apple (which appears to be throttling Premiere for 4K editing on many Macs) .
I'd make as many in roads with BM as you can!
BM would sell more cameras if Adobe supported BRAW, which would pull more people away from PRRAW/FCPX workflows, as there are many cameras / recorders that are now going RAW, but with PRRAW only, or CDNGs.
Make some lemonade you guys!
This would be a tactical move, retaining current Premiere users who were looking into resolve as an alternate NLE. Cheers!
my sincere apologies for not updating the status of this request any sooner.
We’ve been working on widening the range of supported systems for the last couple of weeks – and to ensure we get performance right. I’ll have roll-out information for you within the next 4 weeks.
@ Darren Place : Same over here. Agreed!
@ Justin - BAMB! that would be RAD
Some sort of a node-based approach would be great here, even as I know full well that AE is a layer based compositing system. It would be nice for stuff like matts.
I end up duping the Matt layer, and setting up expression links from the 'Master' mask keyframes to all the dupes in dupe layers, effectively 'cloning' the matt layer, so if changes are made, they roll out to the dupes.
The AEP file I shared was not allowed, using Chrome.
Here is a link instead:
https://drive.google.com/open?id=1D6977C2NzMK4IjzdA4qWAfi23SxhAhqcDavid shmanderson shared this idea ·
@Micah & @ Terle, I was thinking the same thing, but with CC wide time, as you can precisely set the number of Pre/Post frames it calculates. :)
(I use this effect most often to average out grain/noise and create clean still frames, for compositing)
There is such a powerful toolset here, just waiting for users to go nuts about.
I've been exploring with track effects for years, in spite of the pretty brutal interface- but I'm the only editor I know who uses them :/
I just discovered something that most of you all may already know, but thought I'd share for anyone that did not:
By double clicking on the effect being applied to one of your five "Slot"s, the user can invoke the standard floating UI for the effect. I've been struggling all this time with the frlikin' value assigned dial - which reminds me more of morse code than an feasible UI!
I was at once overjoyed, and then frustrated when I realised that by having access to the standard floating UI for effects, you could use the effect presets!.. but you can't access any user created presets, just the defaults that ship with Premiere.
I'll end this as I began, optimistically:
Adobe, you are SO CLOSE to having a wicked audio workflow in Premiere that suprasses any NLE video software I've ever used... and all you have to do is connect a few dots.
DO IT!!!! :)
I just found this feature, and am REALLY HAPPY about it. At a facility I work at, we are shooting everything at 4k UDH, but still currently in a 1080 post workflow, delivering everything in 1080.
I was hoping for exactly this sort of preference, in order to speed up the creation assembly edits- and it does just that- thank you Adobe:)
However, I do agree, that applying this autoscaling to items in the clipboard during a paste is highly problematic, because any reframes or animated scales and motion effects get reset to 50% scale at default XY position. This becomes dangerous in a multi-seat facility, where timelines get touched by numerous editors and assistant editors. Motion effects could get wiped out without the user even knowing it, and by the time it was discovered it would be way to late- possibly output and live online or delivered... Shiver me timbers!
I'd love to see this resolved!
We’ve marked this Under Review, see comment.
Agreed - this is a really annoying and inconstant default behaviour!
I wonder if it's an inherited quirk from the 'rubber banding' of opacity values in the timeline?
This is crucial!
"Replace Footage" in AE is a harrowing experience, with zero protections or constraints to prevent disastrous errors. For example, if "DNG/JPG/ILLUSTRATOR file sequence" box is clicked, or not clicked, your project can get totally messed up, without you even knowing it- especially if its a large project. once saved, its permanent, and you have to to back to an autosave to fix it, and lose/ harmonize any other lost work that has been done in the meantime. a nightmare.
I agree with Franklin. Please look over the "Link Media" using the the Media Browser option to see how robust the interface is, and how quickly and accurately the tools provided do the job :)
I was slow to adopt the media browser interface in Premiere, but now that I use it every day, I really see how lacking AE's media relinking interface is... Don't really think its changed since I first started using AE back in the 1990s!
Something like this would be very useful, as I end up with so many instances of the same track matt in my comp, when all I'm really wanting is to be able to point to one matt source- which I'd assume would render faster, and would certainly be easier to roll out modifications revisions...