Johan Malmsten

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  1. 6 votes
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    4 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  2. 16 votes
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    5 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  3. 39 votes
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    5 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  4. 3 votes
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    0 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  5. 2 votes
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    1 comment  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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    Johan Malmsten commented  · 

    If I interpreted the description correctly... Sounds like it creates broadcast illegal values. Letting color values go outside the legal values can in some broadcasts bleed out to the sound channel. Creating humming noises audible for the viewer...

    This is a strange quirk of old analogue broadcasts and tv sets and sadly it is still to this day a part of requirements that must be met by a lot of broadcasters. Because they have to be backwards compatible with granddads old CRT black and white TV set with the same signal used for their UHD 60hz broadcasts. As a technical feat of engineering it's mind boggöing that they can juggle such vastly different systems but it requires some archaic requirements from the source files.

    So. If that's indeed what they are referring to. Adobe might have a solution/workaround. already.

    In the export setup (in both media encoder and premiere). You can apply filters and overlays and such to the whole export. In there there should already be a tool to clamp signals to be broadcast friendly. That way you could use whatever effects you want on the timeline but the resulting files signal levels would still not exceed what the broadcaster allows.

    If possible, do a test clip with similar effects and content and send it to your broadcaster with and without the signal clamping and ask if that is fixing the issue. These exports are also important to learn what the colors look like to your eyes.

    So it could be that it's not a "bug" exactly... Premiere lets you go outside the archaic rules because it don't assume what you are going to play the result on. It's up to the end user to know what the limits are for the clients needs, sadly... :)

  6. 43 votes
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    3 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  7. 3 votes
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    2 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  8. 10 votes
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    0 comments  ·  Premiere Pro » Adobe Interoperability  ·  Flag idea as inappropriate…  ·  Admin →
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  9. 7 votes
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    0 comments  ·  Premiere Pro » Audio  ·  Flag idea as inappropriate…  ·  Admin →
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  10. 561 votes
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    157 comments  ·  Premiere Pro » Formats  ·  Flag idea as inappropriate…  ·  Admin →
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  11. 7 votes
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    0 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  12. 35 votes
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    11 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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    Johan Malmsten commented  · 

    Maybe do it with a modifier button. Like... overlapping with alt pressed down means transition, while not pressing alt means it trims like before

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  13. 4 votes
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    0 comments  ·  Premiere Pro » User experience/interface  ·  Flag idea as inappropriate…  ·  Admin →
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  14. 6 votes
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    1 comment  ·  Premiere Pro » Closed Captions  ·  Flag idea as inappropriate…  ·  Admin →
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  15. 608 votes
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    157 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →

    This is a great request that is certainly something we want to implement. Rest assured our engineers DO understand the importance of this feature and how to get the job done. We also know that the performance and stability of the app should be our #1 priority and that is where our focus is right now.

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    Johan Malmsten commented  · 

    Well. Mr Anonymous. I guess you've never worked with footage that wasn't shot with rec709 specs?

    Doing shoots using color charts to match colors between scenes and cameras have been a staple of color motion photography since at least the belated "lily" of three strip technicolor fame in the 30s.

    It's a great tool in video (as in digital photography) to identify how a standardized set of colors change in specific lighting conditions and is then used to create a LUT to bring those colors into the desired specs of your choosing. Even if you are chooting slightly off white balance in a log format. If you have a standardized set of colors where you can point premiere to and say "this is ff0000" and "this is ccff22" etc you can quickly generate that desired LUT. This goes even quicker if the colors in question are arranged in a standardized grid so the editor only has to point out the corners of the chart and the NLE will find however many dozen the individual samples are automatically.

    This is done on a clip basis to make the colors accurate to the specs you define (rec709 for instance) and is very much within what can be expected from a NLE or a plugin therein and is not a question of calibrating the playback monitor itself. Because if the colors in the clip aren't correct then calibrating the monitor will not help at all.

    Hope I cleared things up more than I rambled. :)

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  16. 3 votes
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    0 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
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  17. 15 votes
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    5 comments  ·  Premiere Pro » Color/Lumetri  ·  Flag idea as inappropriate…  ·  Admin →
    Johan Malmsten supported this idea  · 
  18. 6 votes
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    0 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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  19. 6 votes
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    1 comment  ·  Premiere Pro » General  ·  Flag idea as inappropriate…  ·  Admin →
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  20. 9 votes
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    2 comments  ·  Premiere Pro » Formats  ·  Flag idea as inappropriate…  ·  Admin →
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