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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
3D scene and characters with bones. Similar to iclone and DAZ 3D to control frame by frame video output. Poses will be sent as images for firefly to generate consistent video scenes.
Fotos de arquitetura normalmento preconiza uma boa composição onde temos a necessidade de retirar elementos que destoam. Gostaria que a IA pudesse fazer essa analise previa nas imagens. Além disso seria bem vindo a correção automática de perspectiva preconizando a paralelidade dos elemento retos quabdo acontecem
i can only type about 300 words in veo 3.0 video generation please upgrade it more so we can easily explain also Kling 3.0 is always saying error with big prompts also sometimes it doesn’t take 300 words prompt
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
I often find myself needing to sync multiple (20+) shorter clips to a longer clip, and currently I have to manually put the video clips onto separate channels, as well as the audio onto individual channels, then the sync is possible. This takes a very long time, and is very frustrating having to resize the timeline window to accommodate it all.
*feature request*Blackmagic announced support for drag and drop .af files into DaVinci Resolve, including access to individual layers via “Split Layers into Place” in Fusion. Much like the way Resolves supports .psd files. I’m receiving more and more affinity files. Would be good if Ae and Pr supported .af natively too. Now I need to open the .af in Affinity and use the save as psd option.
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.
SDL instances have to be kept up to date manually as the automatic updates cannot be set during the installation and change depending on what account is signed in to the CC app. We need a way to set the updates/version upgrades to download and install automatically. I should be able to set this behavior when creating the installer and set it so that non-admin users cannot change the behavior after installation. I should be able to schedule a window for these updates to take place within when the computers are not in use in the installer as well. Your current lack of this feature means that we cannot use our device licenses to the extent we intended because of the management workload to keep them updated. This applies to all adobe apps (not just Photoshop) but I was forced to select a category below.
Maybe I`m wrong on this one, but so far in three years I`ve worked with AE I never really understood why making Null object, Solid or Adjustment layer creates a folder in Project panel. Those are internal objects like Light, Camera or Shape but creating them doesn`t make them appear in this folder like it`s an external media file.Is there any upside for this behaviour? Or making this folder “invisible” in a panel would make no difference?
We use Premiere as part of a newsroom workflow with Mimir.The two function very well together except in one area, rendered effects and HEVC/HEIC/HEIF formats.When directly uploading to Mimir from a Premiere sequence, any video or pictures in high efficiency formats will display an error message when being broadcast.The same is true for effects like warp stabilizer and other effects needing rendering.My idea is to allow a user to select “render in place and create new video clip” or something to that effect.It would allow a user to render the effect or high-efficiency clip and replace it with a user-selected video format and replace it on the timeline.The only way we can guarantee a rendered effect or high-efficiency clip will play correctly is to export the sequence to a local drive and then upload to Mimir.I think many users will find this feature beneficial.Feel free to ask any questions about workflow or any other needed information.
There are two QOL improvement suggestions for columns in timeline.First, I recommend erasing “No Matte” & “None” from Track Matte and Parent columns so it will be much easier to search for dependencies when working with A LOT of layers.Secondly, in the Layer Switches panel there's a small gap at the end of it which also can be resized but doesn't make anything wider aside from the gap. It's common when you switch between devices (PC, laptop) and these columns appear in different sizes on the same project, so you have to always adjust it so it doesn't take up necessary space from the timeline.
Whenever you're changing a percentage, position, or any value field, it's too short to show the whole number. I really hope you'll make it bigger so you don't need to use arrow keys to see the start/end of it.
Photoshop 27.x forces large hover tooltip panels (e.g., Generative Fill) with no option to disable them. These appear across tools and interfere with normal workflow. Previous versions allowed turning off “Rich Tooltips,” but that control has been removed. Please restore a simple preference to disable these panels.
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
Can we have the ability of pining the text layer to a tracked mask (Unassigned Masks) so the text can move along with the tracked mask.Or you give us the ability to track features on the screen and review them at [Tracking Panel] so you can link them to any layers (transform) text or clip.Linking any transform (text or clip) to any tracked feature on the timeline.
Currently, from adobe we don't have any commands to manage the adobe creative cloud desktop application for to disable the auto updates. As most of the Organizations manages the updates by themselves and in our organizations we have 6000+ users affect by this non functionality. Can you please implement this feature as this is great help us to manage the adobe creative cloud desktop as well.
Unlike most modern apps, Photoshop only has a single "undo". If you press command-z a second time, Photoshop will redo the change instead of continuing to undo. Not even Illustrator or InDesign works this way at this point. To work around this issue, I customize my keyboard shortcuts to use "step backward" (command-z) and "step forward" (command-shift-z). For the most part this works great and I've been very happy with it. But it brings up a new problem: if I change the selected layer, then press command-z ("step backward") then the layer change is undone as well. This is a constant frustration for me, and it seems there's no solution to get both the behaviors I want. To me, there are two possible ways to fix this problem: • Adopt a standard undo/redo system with multiple levels of undo/redo • Make layer selection a separate step in the history Personally I don't care that much, I'd be happy with either. But adopting a standard undo/redo system makes more sense to me, for consistency amongst the CS apps (as well as other apps). Perhaps it could be an option if there's disagreement over what works best for people.
When I asked it to compare the images before and after, I get the following message. It will be really nice to see before and after once the modifications are complete. “Unfortunately I can't display two images side by side in this interface, but you can compare by scrolling up to the very first image in our conversation against the most recent one. The difference should be quite striking!”
Based on my extensive, house-to-house, global research - each After Effects user has about 12 billion Expressions, in text files, scattered on their systems.Converting these text files to FFXs is a good step upwards to making these Expressions more easily deployed and this accounts for the new/old Quick Apply feature; to increase its efficacy. A huge issue is the sheer number of text files involved - so, I was wondering if TeamAE is able to provide a Script UI to convert Expression Text Files into FFX. The Script UI would include relevant checkboxes and perhaps drop menus to allow for tagging each Expression and for renaming purposes.
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.
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