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  1. 15 votes

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    4 comments  ·  Premiere Pro » Projects  ·  Flag idea as inappropriate…  ·  Admin →
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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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  2. 10 votes

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    3 comments  ·  Premiere Pro » Import  ·  Flag idea as inappropriate…  ·  Admin →
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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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  3. 18 votes

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    4 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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  4. 1 vote

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    0 comments  ·  Premiere Pro » User experience/interface  ·  Flag idea as inappropriate…  ·  Admin →
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  5. 2 votes

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    0 comments  ·  Premiere Pro » User experience/interface  ·  Flag idea as inappropriate…  ·  Admin →
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  6. 11 votes

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    4 comments  ·  Premiere Pro » Preference & Settings  ·  Flag idea as inappropriate…  ·  Admin →
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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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  7. 6 votes

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    3 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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  8. 6 votes

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    1 comment  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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  9. 11 votes

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    0 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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  10. 11 votes

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    7 comments  ·  Premiere Pro » User experience/interface  ·  Flag idea as inappropriate…  ·  Admin →
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  11. 6 votes

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    4 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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    James Clark commented  · 

    'Reveal in project' my dude. I like to map it to the same key as my match frame command, plus a modifier as it's logically a function of match framing. Reverse match frame is a different thing, but also a function that you can map to a key. Reverse match framing is when you want to match the frame in the source monitor with the corresponding frame in your timeline if you've used it. So if you've used a portion of clip A but can't be sure where exactly on a big complex timeline, load clip A in to the source monitor, scrub to a bit you know you've used, and press reverse match frame and the playhead in the timeline will jump to it. Really useful except that it doesn't work if you're using sequences of clips in the source monitor rather than just a regular clip which is super annoying and the most common scenario in which I'd used the function.

  12. 3 votes

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    1 comment  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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  13. 2 votes

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    2 comments  ·  Premiere Pro » Effects & Transitions  ·  Flag idea as inappropriate…  ·  Admin →
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    James Clark commented  · 

    Hey I found this while trying to find out how to do the same. It turns out you actually can lasso select edit points as opposed to whole segments. You just need to use the right kind of cursor tool. Trimming tools such as the ripple edit, roll edit and trim edit will all lasso select when you have the cursor switched to any of them. The ripple and rolling edit tools are accessible in the toolbar to the left of the timeline panel by default. In default settings they're 3rd from the top. I have them all mapped to keys so I don't have to move the cursor from where I want to select things to the toolbar and back again.

  14. 27 votes

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    2 comments  ·  Premiere Pro » Audio  ·  Flag idea as inappropriate…  ·  Admin →
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  15. 36 votes

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    11 comments  ·  Premiere Pro » Export  ·  Flag idea as inappropriate…  ·  Admin →
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  16. 49 votes

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    20 comments  ·  Premiere Pro » Import  ·  Flag idea as inappropriate…  ·  Admin →
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    James Clark commented  · 

    As a workaround until this is a feature:

    You can make 'dummy' 4k camera original files filled with black frames, derived from the proxies you already have. Import these dummies in to Premiere first, then attach your existing proxies to those dummies, then when you get the genuine originals later, you can use the 'attach full resolution media' command to relink those dummy originals to the genuine originals.

    Do this with FFMPEG, which is free and open source. You'll need to add it to $path.

    Then:
    1. Make a 4k sequence in Pr, insert a black video, 5s in length. Export video to folder with proxies, choose different file format than the proxies.
    2. Open Terminal (this only works on Mac, natively, but the technique can be adapted to windows)
    3. Change directory to the directory containing all your proxies.
    4. Run these commands (you'll need to substitute parts of it specific to your situation)

    for i in *.mp4; do ffmpeg -stream_loop -1 -i 4k5sBlackVideo.mov -i "$i" -shortest -c:v copy -c:a copy -map 0:v:0 -map 1:a /pathToYourChosenOutputDirectory/"${i%.*}.mp4"; done

    NOTE:
    * I'm guessing your proxies are mp4s hence "*.mp4".
    * I called my 4K 5 seconds of black video "4k5sBlackVideo.mov", you'll need to change this to whatever you called yours.
    * The "/pathToYourChosenOutputDirectory" refers to wherever you'd like the dummy files to end up, easiest way to get the path and avoid typos is to drag that folder in to the terminal window when you're ready to enter this part of the command, it will then enter the path for you.
    * The timecodes of the dummy files will be wrong and all start at 00:00:00:00, however this doesn't matter, when you relink the originals all your edits remain intact and those master clips switch over to the correct timecode.
    * This uses BASH commands which won't work natively on windows out of the box, but can be enabled or otherwise made to work. Either that or you'll need to research how to adapt this in to scripts you can write in to .bat files. I couldn't provide examples because I can't test them.
    * If you want to also remove x number of characters from the end of the source file in the resulting output file you can change ""${i.*}.mp4"" with ""${i%?.*}.mp4"", where the "?" represents how many characters to remove. For example if your proxy files have "_proxy" suffixes, you could alter the command to read ""${i%??????.*}.mp4"". I'm not sure if that's necessary or not but I think it helps with automatically linking all the proxies to the dummies at once, rather than one at a time.
    5. This should near instantly create duplicates of all your proxies, except with no vision, just black. The duration, the audio and number of audio tracks will be the same however.

    6. Import clips in to Premiere, attach your real proxies, enable proxies, edit, then when you get the genuine camera originals, disable proxies and reconnect full resolution media.

    There is a lot to unpack and understand and there's a second workaround that can be done entirely in Premiere that I also figured out but there is a 5000 character limit to replies and the full write up came in at 18000 characters. This workaround is better for many reasons than the in-Premiere one I came up with. Good luck.

    EDIT: As a final Addendum - You could do this entirely with just tools at your disposal and without FFMPEG and command line, and just use Media Encoder, the reason I don't suggest it though, is that I couldn't figure out a way to do this that satisfied all the requirements needed for it to work, but would also not take unreasonably long because of transcoding. This method involves no transcoding. The dummy files are made with just COPIES, of the contents of the 5s of black video, which is copied repeatedly until the resulting file is the length of the audio of the proxy file. There is no re-encoding of audio or video involved. If you have time and space to spare, you could just queue all your proxies in media encoder set them to export at 4K and use those as dummy originals. It's just that you'd have to wait for those dummies to be encoded and at that point you'll have wasted a lot of the time saved by downloading the proxies first before receiving the camera originals. (That's not the in-Premiere method I mentioned, I can post that too if anyone else comments any interest in it)

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  17. 8 votes

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    1 comment  ·  Premiere Pro » Audio  ·  Flag idea as inappropriate…  ·  Admin →
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  18. 8 votes

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    5 comments  ·  Premiere Pro » Editing  ·  Flag idea as inappropriate…  ·  Admin →
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    James Clark commented  · 

    Hey Andrew, I've discovered a function within Premiere that's a bit like what you're requesting. It's not the same and has it's irritating foibles, but I'm going to start using this until an insert gap feature is implemented.

    Turns out there's a couple of keyboard mappable commands called 'set all source video to gaps' and 'set all source audio to gap'. Load a clip in to the source monitor and press the key you've assigned to this command and you'll see that the icon for the source video tracks changes to a state of neither the typical blue for activated nor grey for deactivated, it instead becomes blue with a black box around it. It does what the name suggests, any thing you insert from the source monitor inserts as gap in to the timeline rather than as video (or audio if you it was the 'set all source audio to gaps' command that you pressed). You can set in and out points in the source for the duration of gap you'd like, or you can set no in points in the source and instead set them in the timeline and then perform an insert edit and voila you've inserted a gap. This gap satisfies your requirements in that you can set in and out points on the timeline if you want, it shifts everything down the timeline from the in point to the out point leaving a gap, and it doesn't affect sync lock disabled tracks. I don't know about the 5th condition, I think it probably doesn't satisfy that one.

    It has major drawbacks though:

    - You have to have something in the source monitor, if you've nothing loaded at the time, you can't set nothing to insert as a gap and thus would have to waste time loading any random clip for the sake of this feature which renders useless in such a circumstance.
    - You can only toggle the insert as gaps state ON, not off, with the keyboard. To go back to normal, insert and overwrite behaviour, you to either click the source track selectors with the mouse, or use other key commands such as 'toggle all source video/audio' or maybe a track assignment preset. This is by far the weirdest thing about it, why would you make something that only has an on function, but no off?
    - If you wanted a really long gap for some reason, and the source clip's entire duration is shorter than the length of your gap, this wouldn't work because that's as much material as can be loaded. (It's a bit like how Avid's insert filler, can only be a maxium of 32767 frames long)
    - Much like the toggle all source video tracks and toggle all source audio tracks commands that are useful, this command lacks global all tracks button. It's either audio or video per key you assign. This is pretty annoying if you don't want to waste 2 separate physical keys, or have too many cumbersome modifier combinations, and I personally just mapped the video one, ignoring audio. But that's problematic if your source audio tracks are switched on because in Premiere, even if a given target track is switched off, source clips will still be inserted on that track, if the source track is on and assigned to that target track. For me this means having to remember to press my hotkey for disabling all audio tracks, which just adds another step in the process making it less useful.

    but it's just about useful enough to be worth it for now I think.

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    James Clark commented  · 

    This is awesome. I was about to put up a feature request that works the same as Avid's load filler shortcut that loads filler in to the source monitor as though it were a clip and one could set in and out points to the desired length and then insert like a normal clip except instead of an adjustable timeline segment appearing, you just have gap of the appropriate length on the timeline.

    Your suggested method of working is even better than this because you know exactly how long you're going to want it to be by setting the in and out points precisely on the timeline. At present the best worst workaround I have in absence of this makes use of my heavily mapped keyboard.

    In case anyone wants to use my workaround in the interim (it's a lot less good than just having an insert filler shortcut) here's how I do it, I'll use the names of the commands rather than the keys because mine are custom but anyone can map them:

    1. Select target tracks that I would like to move with the keyboard shortcuts for different track toggles (I map 1 to 8 for video and shift 1 to 8 for audio)
    2. Clear any existing in and out points if you have them
    3. Set an in point, but no out point, this essentially sets the out point to the sequence end
    4. Press whatever key you have mapped to the command 'Select in to out', this will select all clips on the selected tracks just like if you'd lasso selected them
    5. Move those clips around either with your mouse or using the 'nudge clip selection' shortcuts, or hit the plus or minus key on the numeric keypad to enter a time value by which to nudge the selection.

    Though there are 5 steps listed an it's a bit convoluted I do find it's JUST convenient enough to be slightly better than the select tracks forward tool or zooming out and lassoing clips and deselecting the ones you don't want.

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  19. 65 votes

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    13 comments  ·  Premiere Pro » User experience/interface  ·  Flag idea as inappropriate…  ·  Admin →
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  20. 4 votes

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    2 comments  ·  Premiere Pro » 3rd Party Software  ·  Flag idea as inappropriate…  ·  Admin →
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