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TyleratTheCrossingKnown Participant

Adobe Podcast Integration or EquivalentReleased

The enhancement from (formerly Project Shasta) Adobe Podcast is AMAZING.  It transforms (most) bad audio into professional sounding audio and professional audio into beautifully-curated EQ'd and Compressed, pristine audio.  If you haven't tried it first-hand, you MUST give it a shot.  It could make you a believer. The good: For single-channel, vocal driven audio, there is literally nothing that sounds better to me.  The bad: 1. I have to export a Raw Waveform and submit it to the website. 2. I have to wait for the file to process. 3. If there are any anomalies that created unwanted compression/limiting/EQ, I have to keyframe the audio's gain in those parts and rinse and repeat until I get the result I want.  4. There are NO parameters to fiddle with, but the end result is usually 99% perfection, I kind of don't care: it is quickly becoming part of my editing workflow on every project.The hope: Whether the process could live locally on Premiere or whether it could live through an integration (maybe like the Auto-transcribe function), I would absolutely LOVE the ability to let the AI of Adobe Enhance process do its magic with less steps - maybe even something along the lines of the Remix feature (which is also an amazing feature).Anyone who has had first-hand experience with Adobe Podcast Enhancement will tell you: this is an AI goldmine for the novice and/or the rushed/impatient editor.  Integrating it better into Premiere and Audition and even After Effects would absolutely push it further ahead of the pack of competing NLE's.

AudioOpen for Voting

Subject: Feature Request: High-Priority Audio Workflow Improvements & Multicam Efficiency​Dear Adobe Premiere Pro Development Team,​I am a professional video director and producer. While I follow Adobe’s AI advancements with interest, I would like to request several practical updates that are crucial for high-end production environments. If implementing complex AI features like "Multicam SmartSwitch" (as seen in DaVinci Resolve) is not feasible in the immediate future, I strongly urge you to prioritize the following audio and source management improvements:​1. Seamless Multi-track Audio Support in Multicam ClipsCurrently, managing numerous audio tracks within a multicam clip is highly inefficient. Please update the system so that a large number of external audio tracks can be bundled with video into a single multiclip. It is technically counterintuitive that audio and video remain disconnected when using 'Match Frame' during multicam editing. We need a unified structure where audio follows the video source seamlessly.​2. Source Timeline View (Avid Media Composer Style)Premiere Pro desperately needs a system that allows users to view a "Match Framed" source clip/sequence as a timeline, similar to the "Toggle Source/Record Timeline" feature in Avid Media Composer. Manually hunting for individual source sequences within the Project panel is a significant bottleneck in our workflow. Being able to instantly view the internal structure of a source sequence would be a game-changer.​3. Automatic Audio Dissolves & AI-Driven Transient MixingPlease implement an option to automatically apply a default audio dissolve (crossfade) between every cut during the rough-cut phase. When focusing on storytelling, constant "popping" sounds at cut points are extremely distracting.Furthermore, I suggest an AI-powered mixing feature that automatically handles transients/pops and balances audio levels to broadcast or YouTube standards in real-time. This would allow editors to stay immersed in the narrative without being interrupted by technical audio noise.​I believe these updates would significantly enhance the professional editing experience and maintain Premiere Pro’s competitiveness in the high-end market.

Julien.Cossette
Julien.CossetteParticipant

Improvement on Hand-Painted workflow in substance painterOpen for Voting

A few key features in substance 3D painter makes it frustrating to try to hand paint in the program, notably around the color picker. The fact that the color palette needs to be open to use the color picker leads to annoying scenarios, especially since it closes automatically when switching from brush to eraser and back. It would be nice to be able to dock the color picker, or if it just stayed open.Also, it’s really annoying that the color picker always open at the same spot on the screen, especially when using dual monitors. I often use my main monitor to create the base layers and generators, then move the window to my tablet to paint over it, but then the color picker always pops on my main monitor and I have to get my mouse to drag it back to the tablet. This combined with the fact that it closes when switching tool is really disrupting. The only fix I could find was to close the program and reopen which is not ideal.Thirdly it would be nice to hide the brush cursor when picking a color, too often I will press the shortcut key around where I want to pick the color and click on the brush cursor picking it’s white color. Finally, it would be nice to be able to switch between material picker and true color picker. Sometimes I’ll work in material mode, but to pick a color I’ll have to switch to base color just to pick the right color that is not influenced by the lighting. I think these changes would help Substance 3D Painter compete with 3D Coat for hand-painted textures.