James Clark

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  1. 210 votes

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    75 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →

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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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  2. 2 votes

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

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  3. 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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  4. 15 votes

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    9 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →

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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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  5. 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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  6. 1 vote

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  7. 1 vote

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  8. 1 vote

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  9. 1 vote

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  10. 50 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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  11. 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.

  12. 22 votes

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

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    James Clark commented  · 

    Yes, I would like this too because sometimes I make or use an audio track on the timeline for organisational reasons, such as being dialogue, or sfx, but also for technical reasons, such as mono or stereo which are important when you're given mono files and want them placed on to mono tracks in a stereo or 5.1 or multichannel timeline. I would like to be able to separate these two different forms of categorisation, technical and organisational. You should still be able to work with the track mixer the same as ever and group using sends the same as ever, this would just be a visual cue for the editor.

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  13. 14 votes

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    James Clark commented  · 

    I was going to lodge my own request but this covers almost all of it.

    There's two thing I'd add to this request, one is the number of simultaneous criteria by which to filter is strangely limited to 2. Sometimes I'm looking for something that is going to < or > a value for a given parameter, AND is something else of another given parameter, OR something else of another given parameter. That's 3 distinct characteristics of filtering and you inexplicably can't do this. I don't really understand why, it's not like it constantly has to loop this search, it only has to execute it when a change of some kind occurs in the project panel. Using find, even in a large project is basically instantaneous so I can't see that it would slow things down. They don't have to overwhelm users with too many options because they can just have + and - buttons for adding criteria. Why would you limit this?

    The other is ability to actually make more effective use of a search bin after it's created. Usually when I create one of these bins, it's at the beginning stages of a project when I'm organising things and will want to move things around and delete things. I often want to find all clips matching a criteria and drag them all in to a different bin. It would be handy if I could drag them out of the search bin and in to the bin I want them to be in. This would move them from wherever they might be within a given bin structure and in to the chosen bin. It would make for a slightly confusin UI experience I admit, because they would necessarily not disappear from the search bin, but this is consistent with how things like explorer or finder work and it's fine. Also deleting as well. In fact especially, as with deletion you can actually expect to see the clip disappear from both the search bin and whatever other bin an asset may be in within the project so it would be consistent and useful. Unfortunately right now search bins are static and you can't move or delete media found through them. I guess one might argue that if you're using search bins you could disregard traditional bins entirely but I don't see why one CAN'T do what I want to do.

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  14. 10 votes

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    James Clark commented  · 

    Based on a reddit post about this, quite a few people are fans of this and sure, I can see it being handy. I've actually used it myself intentionally a few times since I know it's an option. The thing is though, a lot of things are done repeatedly in editing and a lot of them would be easier with constantly ready, very easy to trigger interface and mouse/keyboard cues. The problem is if everything gets given the status of needing a quick and easy access shortcut or UI function, then NOTHING does because the entire screen is nothing but buttons and every single keystroke and click triggers every conceivable obscure option. Some functions are relegated to being hidden behind menu trees, others are only visible are usable when activated contextually, like right-click menus in certain circumstances. What gets given a shortcut like double-click to import in any empty space in the project pane (a significant portion of screen real estate especially when frequently accessed and clicked on to access media) should be decided by how repetitively it's used and how otherwise difficult it would be access in a hurry, and also whether or not someone would need to access it in a hurry.

    Importing ideally happens at the START of a project, and then infrequently or never thereafter. Of course in reality media comes in later and there's need to use it throughout, but after the beginning of the project that's pretty much 80% of the importing you're going to be doing on most projects, and then even after that, when you do the rest, it's usually in specific stages where you do a lot of importing at once. One rarely imports a bit of media, does a little bit of work, imports another, does something else, imports another. You import a large chunk at the start. Maybe another large chunk for pickups, or new rushes incoming, another chunk of several files when you get music and maybe some more for the Online stage. It's not something that needs to be done in a rush compared to the many other essential tasks of editing. If I want to import, I can already right-click in the project pane and because I'm in the project pane, contextually the resulting fly out menu has an import button. I can also use the media browser and I can also drop and drag from a file browser and I can also access the function from the file menu. Once I've accessed the function, I can select ALL of the media I'll be importing for a given sitting of imports from the import window so it's not like I'm having to activate the import function once for every imported piece of media, there's just very little rationale for needing to be so quickly accessed.

    One might ask why, even if unnecessary, it could be a bad thing for something to be easy to access, and well that's because it's really easy to trigger accidentally, and I'm saying this as someone that usually uses the keyboard as much as possible and accesses the project panel through key commands, even then you often have to click around and many times it results in me accidentally triggering the import function.

    I can't see a case for why a function that has this drawback, for a very small benefit, delivered to an area of editing that itself is one of the LEAST in need of it, should be mandatory. Just make it optional.

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  15. 18 votes

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  16. 1 vote

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  17. 2 votes

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  18. 10 votes

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    James Clark commented  · 

    Really sick of having to slow everything down just to do this with the mouse. It should also be possible select a track for active monitoring with keyboard. That sounds like the same thing, and it kind of is, but because of how Premiere's track enabling is setup, it's subtly different.

    If I had a large stack of say 8 tracks and I decided that I didn't want to see the output of the top 3, only all the tracks up to track 5 I would have to disable tracks 6, 7 and 8. While logical it would be good if in addition to the track visibility toggles, there was track monitoring, and if you switched to monitoring track 5, that would mean all tracks above it were disabled, but all below it were not because you're essentially controlling where the top of the track is as far as monitoring in concerned.

    You can sorta do it now, by disabling all track outputs with a shift-click on any track and then enabling the one you want to see, but the problem is that if you have opacity adjustments or effect stacking across layers this wouldn't help much because you're just seeing the one track's output, meaning you end up enabling all the ones you do want to see, or simply starting out by disabling the ones you don't want to but either way you're selecting multiple layers rather than one.

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  19. 5 votes

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  20. 5 votes

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