James Clark

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  1. 6 votes

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    2 comments  ·  Premiere Pro » Preference & Settings  ·  Flag idea as inappropriate…  ·  Admin →

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    James Clark commented  · 

    I can't for the life of me figure out why they made join ALL through edits mappable but not selected through edits. Surely you'd do the latter more often than the former. If I wanted to join all of several it'd be some later stage thing I'm doing while cleaning up an edit for online or something. Decisions like that that affect the whole timeline in a single stroke would take lots of thought and prepping before executing so you don't accidentally mess things up. It's a very deliberate and relatively slow process because of all the decision making and caution involved so the need for a super efficient quick key command is greatly lessened as compared to quickly on the fly joining through edits at the playhead or just what's actively selected. I mean it's great that there is a key command for joining ALL edits I guess, but if for some reason you were going to only make one of those functions mappable why would you choose ALL through edits over SELECTED?

    Oddly enough, for some reason Avid does this too. Sucks on that system just as it sucks here. Just join any edit points that are selected or all edit points in an in to out range where one has been set.

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  2. 5 votes

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    2 comments  ·  Premiere Pro » General  ·  Flag idea as inappropriate…  ·  Admin →

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    James Clark commented  · 

    Super annoying, I open a sequence in the source monitor and hit my shortcut for 'open in timeline' and the source sequence opens in the timeline panel as expected and with '(Source monitor)' in brackets in the timeline tab heading but all the markers are missing, or in fact worse, populated with the most recent (non-source) timeline's markers so I'm temporarily confused why there are still markers but seemingly less or more of them and with different text.

    I get around it by using the timeline tab labelled as '(source monitor)' for fine scrubbing control as intended, but clicking on the source monitor or shifting focus with the keyboard in order to see the markers for macro level jumping from marker to marker. Still very irritating and lots of unnecessary thinking and clicking to get where you need to be, I frequently get messed up shifting focus around this way.

    The trouble is really, although you CAN make Premiere operate in this manner, creating source sequences and stringouts and populating the timeline panel with a source sequence that updates the source monitor's picture rather than the program, it seems we're in the minority of Premiere users who favour working this way and you can really sense the whole while that Adobe really don't anticipate or want you to do this.

    Aside from the markers issue there's also the fact that track selection performed in these '(source monitor)' timelines tabs have no effect on the source side track patching when it comes to cutting a source sequence in to a record sequence and also there's no way to jump from source to record sequence tabs easily if you have more than 2 timeline tabs open as it jumps from tab to tab in the order you opened them, not based on whether they're source or record or even simply left to right as you might expect.

    Even getting Premiere to do load the source sequence in to the timeline panel, again, while POSSIBLE is something you have to really actively pursue and figure out as well, it's almost like a hidden feature, I mean I'm glad it's there but you have to map a key command to 'open in timeline' for it to work, there's no interface cue, you just have to know exactly what you're looking for which one mightn't necessarily and on top of that, it only works if the sequence is FIRST loaded in the source monitor, with that command otherwise opening the sequence in the timeline, but not as a source sequence. A separate command for 'open sequence as source sequence' would do both operations in one and also make more sense to a person specifically looking for the command when mapping it to their keyboard but instead it's relegated to a kind of easter egg secret capability you have jerry-rig together.

    I'm voting for your idea, but I definitely wouldn't hold our collective breath, we seem to be the weird ones wanting to do things this way.

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  3. 11 votes

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  4. 123 votes

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  5. 4 votes

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  6. 2 votes

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  7. 3 votes

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  8. 1 vote

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  9. 16 votes

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    James Clark commented  · 

    This would be great, I was trying to find such an option today to mark scene start and ends as spanned markers on an assembly for a drama

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  10. 218 votes

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    James Clark commented  · 

    This proposed fix is good in as much as it makes the current method of working around the problem a bit easier to do, but it's more like automating the workaround than fixing the issue. What needs to happen is for proxy footage to behave just like regular imported footage whereby you import a clip and make decisions about it while editing, those decisions might include interpreting the playback speed to a particular framerate, they also might include changing that playback speed again, to a different playback speed, (maybe you chose the wrong one by mistake).

    Ideally using proxies should be a mostly invisible process after the import stage of a project. You shouldn't really need to think about them, and the only consideration needed for using them once made is whether to turn them on or off. If the fix for this bug was directed towards this end, then interpreting clips with proxies should ultimately be no different to interpreting clips without proxies, there should be one proxy made at native frame rate of the source clip and interpretation should happen to it just as it does a normal clip and can be changed on the fly without the need to re-encode. It's evidently possible as any clip imported in to Premiere can be treated as such and interpreting clips doesn't intrinsically change any of it's constituent frames so I don't understand why there's an issue with marrying two versions of the same clip with the same native frame rate the way a proxy file is tied to it's original clip. Whatever the timecode address of a given frame in a clip, the frame number is unique and unchanging so it shouldn't present a problem when toggling proxies on or off, and again, it's evidently not a problem of Premiere itself somehow working differently to that under the hood because again it works with imported clips when sending them out to grade via XML.

    Anyway though, up until now, given the existence of the bug, I have worked around it by importing clips with click and drag, highlighting those that need to be interpreted and adding those to the proxy queue first so I can cancel the process in AME and then interpret the clips in the queue correctly before restarting the queue so the proposed fix would be a slight upgrade by cutting 1 or 2 steps but still entrenches what seems like an unnecessary issue to begin with and all it's associated problems. Wasted opportunity.

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  11. 2 votes

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  12. 17 votes

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    James Clark commented  · 

    It would also be a good idea if, when a track hasn't been given a user specified color, that the standard UI dark grey colouring of the tracks be given alternating darker and lighter shades of grey by default, like Mac OS' finder in list view. So, A1 would be Dark grey and A2 slightly lighter gray and A3 the same as A1 and A4 the same as A2 and so on and so on. This would make it easier to trace with your eyes from a clip segment back the track number to the left of the timeline when you have to figure which track something is on. In combination with your excellent user selected color coding to make it even more specific and easier at a glance, then it should be one of those things that just saves tons of time without one even really consciously realising it.

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  13. 15 votes

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    James Clark commented  · 

    Hey Trevor, they still haven't implemented your request but I don't know if you're aware that at least as of now, the toggle all target video tracks and toggle all target audio tracks and also the toggle all source counterparts do work with source monitor focussed and program monitor focussed. This is handy at least for using those toggles as the next best thing for deselect/select all target/source tracks commands, it's also possible to map 'toggle source/program monitor focus' to a keycommand so that you can shift focus states without accidentally changing timeline tabs. Interestingly, this command has some odd behaviour where if you were using the source monitor before you pressed the command it focusses on the program monitor as expected, and if you were using the program monitor first before you pressed the command it focusses on the source monitor as expected, BUT but if you were using the program monitor, then switched manually to the timeline and THEN pressed the 'toggle source/program monitor focus' button, it will switch from timeline to program which is odd and can lead to confusion since you would think the timeline counted as program and expect to switch to source as is indeed the usual behaviour when starting from the timeline.

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    James Clark commented  · 

    I do my best with toggle all video and toggle all audio but I so frequently find myself switching them to the wrong state or getting confused between the 2 and having to do it a couple of times over that I suspect I'm probably more often better off using the mouse plus shift key on track controls on the timeline. I would really love a deselect all tracks button.

    I see the logic in having toggles for each, I can actually think of very few situations where that's ever what I've actually intended to do and thousands of situations every day where selecting/deselecting ALL tracks is what I wanted.

    This plus the command being localised to either source/record side depending on which is active, in combination with auto-patching would be great. It's nice to cut bits of one complex sequence in to another by placing one in to the source monitor and while source is active, deselecting all source tracks and then with the number keys choosing the specific tracks you want to insert and then switching to program side and doing the same again but now pressing the numbers for the tracks you want to target and the auto patching automatically matches them together.

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  14. 11 votes

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    James Clark commented  · 

    Hey I voted for this because the 2nd half of your request mirrors a separate standalone request I made for deleting selected tracks. So you know though, there is already an 'add tracks' shortcut that you can keyboard map, I have mine mapped to cmd+y. Perhaps you were expecting that to simply add one track for time you press it though which would be a logical guess, whereas instead it opens a dialogue asking you how many tracks you'd like to add, what type and where. Avid has a command for 'add video tracks' and one for 'add audio tracks' that simply adds one track for each time you press this shortcut, and if you want more precise control like with the dialogue in Premiere, you can use the 'insert video tracks' or 'insert audio tracks' command that brings up a similar window.

    Personally, I think Premiere probably took the right approach here. It's maybe less efficient if you're just adding one track, but marginally as you can control the dialogue prompt entirely with the keyboard anyway and it makes more sense to ask what the user wants to do re audio/video, number of new tracks and addition vs insertion of those tracks via a nice clear interface than multiple different key commands to remember.

    What sucks though is the lack of ability to delete multiple tracks of your choosing at once. Hence my feature request and support for this one.

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  15. 1 vote

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  16. 1 vote

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  17. 1 vote

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  18. 1 vote

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  19. 61 votes

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    38 comments  ·  Premiere Pro » User experience/interface  ·  Flag idea as inappropriate…  ·  Admin →

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    James Clark commented  · 

    I have voted for this and would like to add to the other comments that actually, the feature is pretty useful, it just needs to be optional. The thing that maybe hasn't been understood given the 'needs more info tag' from the adobe admin, is that when you're trying to patch from a source sequence or clip with more tracks than the sequence, the ONLY way currently to see ALL the possible source tracks you might pick from is to add that many tracks to the timeline. That's extremely unhelpful as your frequently picking and choosing source tracks, disregarding those you don't want. The little '+' sign at the moment for when you actually DO want to add enough tracks to match the source is fine, it works as expected and is in a logical place, it just shouldn't be the case that the source tracks are initially LIMITED to how many timeline tracks there are. If you're timeline has 4 tracks and the source has 8, I want to see 8 source tracks in the patching area of the interface, and a little plus button there for if I want to auto add tracks to fit, otherwise I'll just click to enable/disable and re-route source tracks however I see fit. This then wouldn't even require a warning or any new behaviour to make it optional because it already IS, (I don't know about back in 2018, but right now it doesn't auto-add them just from loading a source), we just need the ability to actually practically use the source patching without using the feature. It's not automatic right now, but it is mandatory which amounts to the same thing because if you want track 5 of source and only have 4 program tracks then you have to add 4 more tracks you didn't want to get 8 so you can physically see track 5 to patch it where you needed and to disable all the other source tracks.

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  20. 4 votes

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    James Clark commented  · 

    Hey man, just so you know, you can in fact do this, you just have to either map the reverse match frame button to a key command or a blank spot in the interface if you want to do it with the mouse. I use it all the time. Word of warning if you try this and it appears not to work, the feature is as its namesake suggests, match FRAME, so if the clip in the source monitor is used in the sequence, but the frame you're looking at in the source monitor hasn't been used in that sequence, then the reverse match frame button will do nothing because indeed that frame isn't used, but so long as you're parked on a frame that was used in the sequence then you're good to go.

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