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TristanCybornParticipant

"Replace footage" with anything in the project (footage more abstract)Open for Voting

I would like to be able to “replace footage” with anything from within premiere thus having ‘footage be more abstract’.  Current Limitations: Replace footage only applies to footage on disk.  Improvements: Replace footage with anything already imported. It should just become a reference and behave similar to ‘replace with Clip from Bin’ but on a project level. I would like to be able to swap anything with anything within the project window: ie. Source footage with a sequence, subclip, AE project, imported image etc. and vice versa. A piece of ‘footage’ should become more abstract. Maybe all footage should get an additional ‘container’ with a basic timeline where you can manually drag in a new source and handle the duration etc. ‘Footage’ then can never be used in timelines directly only through the ‘containers’. Your edit is then totally independent from your source footage and you can swap the actual footage in the container and modify it if needed. This allows you to macro manage your whole project. You could put everything from ‘modify clip’ (interpret footage, etc) in this container. Basically how you deal with this reference throughout the project.  Usecases: - Footage within a Graphic (note: NOT graphic templates) cannot be swapped currently, thus one can only replace the source footage from a file on disk and NOT assign a different Clip/Subclip from the project, making native graphics not reusable unless you render all to disk and replace every clip (destructive workflow) and creates unnecessary bloat. - replace footage with a already imported image, video, sequence, project. - adjust your footage in a container before it gets used: scale to frame, crop, rotate, color manage, - grade on a project level at once, then overwrite / micro adjust in the timeline itself. - Video size is no longer a consideration when editing in a sequence. - you can fix footage before it is used (using AI). considerations: - self reference: possible parent child relationships that could cause a cycle. - option to pre-render sequences or subclips when swapping, keeping the link to the source and option to update from source (simular to offline footage). Thank you

matteo_LabFoto
matteo_LabFotoParticipant

P: Export the images while preserving the folder tree in which the originals are organizedOpen for Voting

Quanto tempo si perde, dopo aver esportato le foto, nel raccoglierle e organizzarle in cartelle, suddividendole e raggruppandole per non disperderle in folder contenenti centinaia di file? Il modulo di esportazione di LrC permette di esportare contemporaneamente immagini da molte sorgenti. Usando le esportazioni batch anche in molti formati diversi, ma sempre e solo verso un unica destinazione. Non sarebbe utile poter applicare una logica di esportazione flessibile e articolata come quella d’importazione?Uso LrC dal 2007 e gestisco collezioni di centinaia di migliaia d’immagini, organizzate in cartelle e sottocartelle con molti livelli di profondità. Conservo i file originali (convertiti in DNG) e spesso li riprendo per rielaborarli per utilizzi e pubblicazioni sempre diverse. Per valorizzare l’ordine con cui sono suddivisi i file ho sempre trovato utilissimo un semplice plugin donationware sviluppato da Timothy Armes chiamato LR/TreeExporter.Con questo strumento posso esportare interi archivi e ritrovarmi con le foto organizzate in maniera precisa e strutturata, con una gerarchia di cartelle e sottocartelle uguale a quella dove conservo i negativi digitali.Il plugin LR/TreeExporter funziona molto bene, anche se non viene più aggiornato da molti anni. Potrebbe essere incorporato in LrC? Il mio timore ad ogni aggiornamento è che smetta di essere compatibile e quindi di perdere questo fondamentale strumento.Ecco un esempio del risultatoInoltre potrebbe essere utile applicare la stessa possibilità all’esportazione di Raccolte: se ho raggruppato dei file DNG in un sistema di Raccolte e Set di Raccolte vorrei poterli esportare rispettando questa organizzazione.Ecco l’interfaccia di LR/TreeExporter 

smiff1000
smiff1000Participant

reference image/video option for subject and background for image to videoOpen for Voting

When using an image or first frame/last frame image reference for image to video, it would be very useful to add an option to upload a subject reference.So in practice I have an environment image reference, and I want to add a specific effect to the space, or a specific character. or even a consistent effect/character for use in other generations. Currently its trial and error each time to try and find the correct prompt. Would additional references be possible? For instance a picture of the kind of character I want, or a video of the kind of effect?Specific example: I rendered a 3d start and end frame image of a room interior. I wanted to animate the trees outside the window blowing in the breeze, or the sunlight casting shadows on the floor, or a person walking through the room.It took a lot of trial and error to get the trees looking correct, but eventually managed it. I gave up on the sunlight effect since I was burning through credits, and I managed to get the character walking through the room, but on the next generation it was a different character even with the same prompt. I think video references for the effect might have helped, and image references for the character might give some consistency.Additionally, I wonder if theres a way to specify which area of the image to edit in the video, by a grid ref over the image for example. Whilst attempting to add the shadows and moving trees I lost count of the amount of times I had tree branches and leaves flying through the room nowhere near the windows. 

Feature Request: Smart Frame Rate Handling Tool for Mixed Frame Rate WorkflowsOpen for Voting

Description: As a professional editor in television production, I often work on projects involving footage shot in varying frame rates (e.g., 24p, 30p, and 60p....ect). While I appreciate Premiere Pro's existing tools like Frame Rate Interpretation and Optical Flow, managing mixed frame rates within a single timeline can be time-consuming and requires extensive manual adjustments, particularly with high-motion footage such as drone or action camera clips. --- Problem: When footage with mismatched frame rates is added to a timeline, the current workflow requires manual interpretation, time interpolation settings, and trial-and-error testing to ensure smooth playback and motion consistency. This process can result in judder or artifacts, especially with motion-heavy clips, and takes time to resolve. --- Proposed Solution: Introduce a Smart Frame Rate Handling Tool that automates and streamlines this process. Key features could include:   1. Automatic Detection and Prompt: When importing or adding footage to a timeline, Premiere could detect mismatched frame rates and offer options: Match timeline frame rate using Optical Flow or Frame Blending. Maintain original playback speed without dropping frames. Convert for slow motion if desired.   2. Global Frame Rate Preferences: Allow users to set a default behavior for handling mixed frame rates (e.g., always apply Optical Flow, Frame Blending, or maintain native frame rates).   3. Dynamic Warnings and Fix Options: Provide subtle notifications when a clip with a different frame rate is added, along with a one-click “Fix Now” option to apply the chosen optimization.   4. Optimized Presets for Motion-Heavy Footage: Create presets tailored for drone footage, action cameras, or other high-motion content to minimize judder and ensure smooth playback automatically. ---   Benefits:   This tool would: Significantly reduce time spent adjusting mixed frame rates manually. Improve consistency and quality for projects combining footage from multiple sources. Empower editors to focus on creative storytelling rather than technical troubleshooting. ---   Industry Impact:   Mixed frame rate workflows are increasingly common in industries like television, advertising, and social media, where footage often comes from various sources. Automating this process would enhance Premiere Pro’s value as a professional editing tool and address a key pain point in modern production workflows. ---   Thank you for considering this idea. I believe this enhancement could benefit a wide range of Premiere Pro users and further cement its reputation as the leading software for professional video editing.   Sincerely, Brett

Rdb.Photo
Rdb.PhotoParticipant

P: Adaptive AI Denoise: Intelligent Grain Analysis and User Preference LearningOpen for Voting

The current AI Denoise implementation uses a static default value (50) and requires manual activation per image or batch. This is inefficient for professional workflows: Unnecessary Processing: Currently, Lightroom doesn't distinguish between a clean photo and a noisy one when syncing settings. It applies Denoise even if the image doesn't need it, wasting time and storage. One Size Doesn't Fit All: Every photographer has a different "noise tolerance." Some prefer a clinical, smooth look, while others want to preserve some natural grain for aesthetic reasons. I propose a smart and adaptive AI Denoise system with the following capabilities: Noise Detection: The AI should first analyze the image to determine if Denoise is even necessary. If the image is clean, it should skip the process or apply a 0% value. Intelligent Auto-Intensity: Instead of a fixed number, it should calculate the minimum intensity required to clean the specific grain of that file without washing out textures. User Preference Calibration: Allow users to set a "Noise Tolerance" profile. The AI would then modulate its intensity to match the user's specific style—learning whether the user prefers total smoothness or a film-like grain retention. This would transform AI Denoise from a manual "fix-it" tool into a background intelligence that ensures a consistent, personalized look across thousands of photos with zero manual intervention.