James Clark

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  1. 81 votes

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

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  2. 67 votes

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

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  3. 117 votes

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    James Clark commented  · 

    I'd vote paste to same track, but actually I think the bigger issue here is that the best choice is always whatever the editor decides, but the current means of choosing which track to paste to is cumbersome which is why this issue even needs to be discussed. Track activation determines where the clip pastes to, but in order to specify which track, one needs to jump through a few hoops except in ideal circumstances where no tracks are currently activated.

    If there was a deselect all tracks command. https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/35351707-deselect-all-tracks-shortcut
    Then you could pick which track to paste 2 in as little as 2 steps. First, deactivate all tracks, then press a key for which track you'd like pasted to.

    That said though, it'd be nice if, when multiple tracks are activated, or when no tracks are activated, the default behaviour were paste to the existing track. It's the least ambiguous as you typically expect things to go to the same place as previously unless otherwise stated. Like saving a project or exporting a video defaults to the last place you selected for either of those things.

  4. 4 votes

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  5. 12 votes

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    James Clark commented  · 

    This kind of already exists. You open the sequence you want to work with from the project pane and using a mapped key command, or just right clicking you say 'open in source monitor' then when it's in your source monitor you press a key command that you must map for 'open sequence in timeline'.

    This gets you half way there because you have the timeline pane populated with the source sequence and when you move the playhead around, the image updates in the source monitor, not the program monitor, allowing you to splice the contents of the source sequence in the program with the advantages of the fine control offered by actually seeing the source timeline in the timeline pane. The devil is in the details though because the other half of this equation, switching quickly back to the program timeline so you can actually see what you're patching TO can be quick and easy, or frustrating and difficult depending on how you've specifically set you're project up.

    Premiere has a key mappable function called 'timelines' which will switch focus to the timeline window pane, if the timeline pane already had focus when you pressed the key command, then it will switch which timeline you're looking at, if you had more than one timeline open at once. If you only had one open, nothing happens, but if you had 2 open, then it switches to the other of the two. So in your circumstance if you had only your source timeline open and your program timeline open, then hitting this key command will function identically to Avid's toggle source / record in timeline function that you want.

    What sucks though is that it's a bit fragile. For example, the Avid key command ONLY switches source / record timelines so it's function is not ambiguous, however because the Premiere 'timelines' command is actually a focus switching command that can be doubled up to work like the toggle source / record in timeline function, sometimes you may not have noticed you already had timeline focus and then switch focus to the timeline to make an edit, only to remember it already had focus and Premiere switches to a different timeline. That's annoying, but workable as long as you remember what had focus. But also, and this gets down to how you like to work, Premiere, unlike Avid, can have multiple opened timelines appearing as tabs in the timeline windowpane. This feature is great and I think superior to Avid's rigid single timeline only way of working. But if you take advantage of this, which as a Premiere user, you likely would, then using the switch focus to timeline command as a means of switching WHICH timeline to look at gets very problematic because there's more than 2 potential timelines to open. Which one Premiere switches to is based upon the order in which you opened them so you end up getting very confused and it all goes to hell if you try and combine Avid working practices with Premiere ones in this way.

    I'm not really sure what the solution would be. Multiple open timelines is a killer feature and not something you'd want to lose, but toggle source / record in timeline functionality only works reliably when you can only possibly be working with 2 possible choices source or record. Even if a dedicated button were setup, instead of just using the existing switch focus command, there'd still be the question of WHICH source timeline, and WHICH program timeline did you want to toggle to. They could maybe set up the ability for you to flag which timeline is your 'current' one that you'd like to always consider the Program timeline until such time as you set the flag to a different timeline but by that point things are getting pretty convoluted.

    Anyway, if you stuck with me this long. Best bet if you really miss this feature, is to make sure you only have 2 timelines open at any time, and jump between the two open timelines just like it's Avid by using the key command for 'timelines' to switch focus to timeline and then jump between timelines. Otherwise, if you'd like to still take advantage of the being able to scrub a source timeline in the timeline window with the image updating in the source monitor but also STILL want the ability to open several timelines at once, then it's one of the few occasions where the best solution I can think of is probably just use the mouse and click the correct timeline tab.

  6. 6 votes

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  7. 3 votes

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  8. 269 votes

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    James Clark commented  · 

    I didn't know they couldn't do this. That's a shame, I don't come across it very often but it's a great way of doing things.

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  9. 812 votes

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  10. 30 votes

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    James Clark commented  · 

    I think this is requested in various different forms in different requests. I need it for video as well, as sometimes you're trying to insert bits and pieces of one edit in to another edit and there can be a lot of video and audio tracks. I think the Avid implementation of this would be the easiest as they don't actually require different shortcuts for activating/deactivating on source versus target tracks, you just press the 'toggle source/record' button which would be 'toggle source/program focus' in Premiere and then any track activation/deactivation keys you press will affect either the source or the timeline depending on which you toggled and you can switch between at any time. This approach is really elegant because there's no doubling up of keys that have to be mapped for source/program track activation so only one set of shortcuts to remember. The other thing that's good about that method is that if you have a sequence loaded in the source monitor and you 'toggle source/record timeline' which in Premiere would be 'open sequence in timeline' you populate the timeline panel with the source timeline and can activate or deactivate whatever tracks you like whilst much more clearly seeing what’s on those tracks. The activation/deactivation choices you make in that source timeline will remain chosen when you switch back to viewing the program timeline in the timeline panel. Frustratingly in Premiere you can actually already do all of that except that any track activation/deactivation you do in the source timeline has no effect upon the patching when you go back to viewing the target timeline.

    I sound like an Avid shill, but I choose Premiere over Avid for many reasons, there's just lots of little things that Avid does well that I wish could be replicated. The keyboard controlled track activation on both source and target side is one of them and once you have that and get used to it, it pairs beautifully with another feature that's great in Avid that I wish Premiere had called 'auto-patching' which is fiendishly simply but so helpful.

    Anyway, any time I see this suggested in whatever similar wording or form it pops up I always cast a vote for it.

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  11. 20 votes

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    James Clark commented  · 

    You can already can do this, entirely with the keyboard, you just need to map some extra commands.

    You can map these to whatever you like but the commands to look for in the keyboard shortcuts screen are:

    Select nearest edit point as roll (I mapped to shift+d)
    Select nearest edit point as ripple out (I mapped to shift+s)
    Select nearest edit point as ripple in (I mapped to shift+a)
    Select nearest edit point as trim out (I mapped to shift+w)
    Select nearest edit point as trim in (I mapped to shift+q)

    You can switch from any of these to any other of these before and after entering trim mode. Typically I choose which one I want before, but you can change your mind in trim mode and use it just like you want to. I especially love having these commands mapped because they're dual use, you can use them in trim mode, but also for quick adjustments you don't even need trim and they'll still work, just without the split screen program monitor.

    They're most useful when you have 'go to previous/next edit point on any track' mapped to the up and down keys and the 'go to previous/next edit point' mapped to the A and S keys. This way you can easily snap the exact edit point you want without needing the mouse and then move edit points around using the above mapped shortcuts or for more precision, enter trim mode and easily switch between these different trim operations using the same shortcuts. It's nice too that there's always a clear visual indicator which one you're using on the timeline at the edit point so you can't get confused. I actually never use the change trim type shortcut any more since I can just go straight to the one I need.

  12. 27 votes

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  13. 30 votes

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    James Clark commented  · 

    Definitely better as a switchable option. A good one though because on certain timelines it's better one way or another depending on what you're doing. Most of the time though, if there's a lot of tracks and I'm trying to get to the top of bottom quickly, it's super annoying that all the scrolling I'm doing isn't actually getting me any closer to the track I'm trying to operate on because it's only scrolling either the audio OR the video and not both.

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  14. 156 votes

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    James Clark commented  · 

    Can anyone explain the way they'd like to use this feature to me? On the one hand, if I was going to move the tracks around vertically I would expect mouse dragging to be the most obvious way to do it, but on the other hand I can't understand why anyone would ever move the whole track unilaterally with all its clips across an entire sequence and have the stacking order of which clips are visible when completely changed let alone any and all effects involving masks or track mattes or transparencies of any kind.

    I'm trying to imagine even the simplest timeline with only two tracks that's only a minute or two long and has no effects. In that scenario I still can't see how the effect would be any different than switching off the top track using the 'eye' icon. For anything longer and more complex with more tracks, I can't figure out a situation where it wouldn't be a disaster for the timeline. At least if the results were bad it'd be a quick an easy fix to just move the tracks back how they were, since nothing's overwritten or destroyed, but again I can't imagine why you'd move them in the first place.

  15. 26 votes

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