Feature Requests

i want to scrub in the export settings beacuse i want to be abile to here the preview 

Would it be possible to have the most updated premiere and ae dynamic link implementation? BC having ME 22 acting slower than the sun through the day, would not be nice with ME beta unable to surpass this version issue.

9 times out of 10, I want to render to the exact same path relative to the source path and 0 times out of 10 is that the "<insert projectName>_AME" folder Media Encoder keeps defaulting to. It would be great if we could set a different default folder within Media Encoder, in a way that:- If said folder does not exist yet, AME will create it.- Also allows us to render to a folder 'up' the file tree, like this, for example: / = System root directory./ = Source directory../ = Parent of source directory../../ = Two directories up This would take an annoying step out of many people's workflows.Thanks!

It looks like Adobe has extended their "nobody needs to see anything" policy over to Media Encoder. The latest updates have added in fancy rounded corders, huge buttons, and lots of luxurious padding around every UI element. As a result, we can now see fewer items in the queue, fewer presets in the browser, and fewer items in the export window. Come on, Adobe. Stop making your UI so obnoxious. I want to see what I'm working on, not a bunch of wasted space.   Mod note: Title was changed slightly to reflect your comments.

Hey together. I would like to provide a Media encoder export preset to several people. Within the export preset i do have set an FTP upload destination. But while providing the export preset, the password of the FTP upload settings gets lost. All the time. I have been searching through the configuration files of Media encoder or Premiere. No configuration file seems to safe this password. Adobe answered me, due to security reasons those passwords are not safed. They are just safed on that specific user on that PC. A Not user based adove lincese (FRL License) could work. But this does not help, it generates the same issue. Adobe, Could you make an option within media encoder to store this information as well in the export preset if wished?

Utilizing Mamoworld.com which uses json within the AE program. They utilize the JSON Features built into AE. But Media Encoders has a bug and does not utilze the json data when sent to ME.                                

This feature appears in some other file conversion software and I always find it super helpful.  Just a little folder icon (put it next to the green check mark in AME Queue).  After a render finishes, one click and it takes me right to the file I just exported and saves me the time of navigating through drives and folders to go grab it and upload to the client.

It'd be very useful, while an encode is processing, to see what frame number the encoder is currently on, so I can see if the encode is actually progressing or not. Sometimes it's hard to judge just from the Output Preview, especially if there's not a lot of movement in the video.

I honestly don't understand how a system that performs this badly continues to stay in the products. This new color management system is absolute dog s**t. Who could ever look at the results of that and say, "yeah, that's probably what our customers want to see." I am just absolutely blown away. It is no wonder that people are flying away from Adobe in droves. Influencers are flying away from Adobe in droves. Who is pushing and maintaining these terrible ideas? Please, for the love of god, give me the option to turn off this absolute garbage color management system. It is not an option like in Premiere.

When will we be entitled to the AV1 codec and have HLG, bt.2020 for Apple Prores MXF?

title says it all. would be nice to be able to add some color coding/user level tagging for files to be rendered in the queue.  that's all! thank you.k

Have an Ingest option to ask for destination on import so that I don't have to select hundreds of files and change their destination.

I've been trying to render a long queue of videos, and the machine is set to sleep after 30 minutes of non use, and the queue doesn't continue unitl the machine is wakened. While AME is rendering, it does not tell the OS that it's busy. Please have it keep the machine awake while it is rendering a queue.

The recently "updated UI" is VERY hard . on the eyes.The interface "refinements" are killing my eyes. I'm not sure if it's a font change, of the text has more contrast. But the defined boxes and UI text and now REALLY hard . on the eye. I rolled back and the difference is chalk and cheese. The new UI makeover feels like a version from 5 yrs ago. Can we please have the option to just leave it as it is.

When using a Watch Folder, ME moves the original file to a folder called Source and places it under a sub-folder named with the date and time.This means that locating the original file requires knowledge of when it was processed. Not a big deal when managing only a few files, but a huge pain for a large number of files, particularly when multiple editors need to locate those files.At a bare minimum, I would like the be able to set the sub-folder name to the same as the original file. Appending a "_#" tot he folder name in the event of duplicated file names would be acceptable.Even better would be to be able to configure multiple settings for what happens to the master file after processing. I understand the need to move it, but let me specify the name of the "Source" folder and decide if each file needs its own sub-folder or not. If so, let me specify how that folder is named.

AME can't seem to read Canon's new Cinema EOS R5C files correctly. AME renames all files to Clips0001 regardless of what the original file name is. The correct file name shows in the AME browser, though. But it doesn't carry through to the compression like other camera files do. All file name burn in when trying to render proxies show Clips0001. Sorry for no examples, my footage so far is not shareable, not even screengrabs.

I need to be able to batch modify "Source Settings" on ProRes Raw clips in Media Encoder. Currently the colorspace for ProRes Raw clips has to be set on a per clip basis by right-clicking clips in the Media Encoder queue and choosing Source Settings and then setting the colorspace as desired (the colorspace always defaults to Rec709). If I select multiple ProRes raw clips and try to modify Source Settings, the change is applied only to the first clip in the selection. I need to render hundreds of clips using the Sony slog3/sgamut3.cine colorspace setting but as it is, they will all have to be modified one at a time. It also does not make sense to that colorspace is segregated into a separate "source settings" dialog - it should be a setting that is set and stored as part of the encoder preset settings. I cannot use the "generate proxy" feature directly from Premiere because I cannot store the desired prores raw colorspace setting in the ingest/encoder preset. Please fix this. Move Pror

Now Prelude is discontinued i feel there needs to be a better ingest workflow in AME. Watch folders still require all of the footage to be in the exact same folder which is unworkable for me. If the watch folder could pick up a set folder structure and copy this for the transcoded files it would be perfect for our workflow. Otherwise you have to make a separate watch folder for every folder and it defeats the simplicity of the solution.

I would like to consistently be able to change the output destination for multiple files. I usually have to try to change them twice or more.

The Creative Cloud suite needs the ability to use other resources connected to the same network for distributed rendering.Installing a small program on other connected machines would allow the primary machine to use the available CPU/GPU and memory of connected machines to speed up render/export duties.

My workflow requires that I set the in-point at a consistent timecode for files I receive for transcoding. Is there a way to have a watch folder automatically set the in-point for an export when I drop a source file in? This would be a very helpful feature for Adobe to implement, if it's not availabe already.

When exporting from for example After Effects, I'd like to take advantage of the newest formats to cater the needs of my co-workers and ensure the best quality. This includes being able to make life easier for the developers with more flexible formats like WebP and WebM. WebP is very versatile; it allows for a 24-bit transparency coloring, which is something other animation formats simply do not support (and formats that do support it, are not supported by web browsers).Supporting WebP would solve this (for stills, but also for animation). Animated GIFs don't support the same level of transparency, which deminishes the flexibility (since it requires you to select a matte, which is only sporadically desirable).

Allow uploading to a Google Drive account and specific folder, particularly business accounts that do not support "Backup and Sync".

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Please improve 10bit encoding using GPU, at the moment you dont support 10bit export, I have tried for the last 4-5 days to keep 10 bit all the hdr rec2020 and use hardware encoding which reverts back to software encoding which is no good very slow , 10bit 4k with hdr rec2020 is the way forward and include in you adobe media centre + adobe premier pro for a new pre-set for this, when I select x265 custom pre-set and select main 10 , tier high, rec2020, hdr, and include hdr10, straight away I receive a message , your system hardware does not support hardware acceleration for the current settings , I know it does Because I use a program called StaxRip which does this and keeps all metadata for 4k 10bit x265 NVidia GPU acceleration. please could you create a complete new 10bit 4k x265 support for GPU encoding, I will attach a file with the issue I am facing, and I am not the only one a lot of customers are facing this issue , also I got the info about 10bit export not being supported fr