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Request for Adding Hebrew Language Support in PhotoshopOpen for Voting

Dear Adobe Team,My name is Gabriel Nahum, and I am from Israel. I have been a loyal and enthusiastic user of Adobe products, particularly Photoshop, for a long time. First and foremost, I would like to express my gratitude for creating such an outstanding and high-quality software that allows me to bring my creativity to life in a professional and accessible way.However, as a user from Israel, I encounter significant difficulties using Photoshop because the software is not available in Hebrew. I believe that many other users in Israel would highly appreciate the option to work with an interface in their native language. Hebrew, being one of the leading languages in the Middle East, could open up a larger audience for Adobe, as there are users who currently struggle to fully utilize the potential of the software.I understand that adding a new language requires resources, but I am confident that this investment would be worthwhile in the long run and would benefit the growing community of Adobe users in Israel.It would bring me great joy, along with many others, to see Photoshop and other Adobe products available with full Hebrew interface support. This step would significantly promote digital creativity in Israel and encourage broader use of your amazing products.Thank you very much for your attention and for your ongoing dedication to your users. I sincerely hope that you will consider this request positively.Best regards,Gabriel NahumIsrael

Suggestion to Enable "Match Source" for AVI EncodingOpen for Voting

Hi there,I use Adobe Media Encoder regularly, and I find the "Match Source" feature incredibly helpful for streamlining my workflow. However, I’ve noticed that this option is unavailable when encoding in AVI format.I understand that AVI is an older container format, and it may not always be feasible to match source settings exactly due to technical limitations. That said, I believe keeping the "Match Source" button available, with some modifications, could enhance the user experience. Here are a few suggestions for how it could work:Adjust settings within the format's limitationsAutomatically apply source settings (like resolution, frame rate, and aspect ratio) wherever possible without violating AVI's constraints.Highlight unadjustable settingsClearly indicate any settings that couldn't be matched due to format restrictions, perhaps by highlighting them in red or using another visual cue.Provide explanatory tooltips or messagesInclude a brief note for highlighted settings, such as "This setting cannot be adjusted due to AVI format limitations."By doing this, the "Match Source" button could remain a valuable feature, even when certain limitations apply. As it stands, the button’s absence when using AVI might confuse newer users or slow down workflows.I’d love to hear thoughts from the Adobe team and other users. Thank you for considering this suggestion!Best regards,hanayuki.

Multicam creates multiple tracks from same cameraOpen for Voting

Sometimes, I work with multiple cameras, which requires me to handle multiple takes from the same camera. When creating a multicam sequence, Premiere treats every take as a different camera angle, even though the different takes are from the same camera. This results in multiple camera and audio tracks in the timeline, even though the takes are from continuous shooting with one camera. This creates a headache in the multicam sequence because each take is divided into separate blocks in the multicam view while editing on the timeline. One workaround is to open the multicam sequence in Timeline view, where all the cameras and audio tracks are visible. From there, I manually drag the multiple takes onto the appropriate track that corresponds to the correct camera. Afterward, I return to the multicam sequence and edit, as correcting the issue in the timeline reflects those changes in the multicam sequence. However, this can become time-consuming, especially when dealing with multiple cameras and multiple takes. Additionally, some cameras, during long shoots, automatically create separate clips on the SD card. I’ve seen several forums discussing this issue over the years, but no definitive solution has been offered. Would it be possible for Adobe to implement an automatic solution to address this problem instead of relying on a manual workflow like mine? I believe you can assign cameras to tracks using the timecode feature, but not everyone uses timecode. I also understand that Final Cut Pro may have this feature. Although I’ve seen forums discussing this issue, I haven’t seen it directly addressed. (I attached a screenshot of the timeline version of what I am talking about.  The screenshot is just a short example of two cameras with multiple takes. divided onto different tracks.) Thank you.

What?? Tape based workflows discontinued??Open for Voting

Folks-Am I the only filmmaker and editor alarmed by this? I guess I'm late to this party.The development seems almost criminally shortsighted and should be reversed. It's simply this. Yes, we're all digital creatures now, but many of us have shelves, boxes, libraries with scads of DV and DVCAM original footage stored going back into the mid 90's, and often we acquire new tools to repair and enhance early digital content for future purposes. I often export a ProRes master of legacy tape and ingest it into Topaz Labs Video AI to delinterlace and enhance a transferred clip's image quality to HD standards-- sometimes 4K. It never ceases to amaze me how we can turn the clock back and retrieve great clips, great shows, to becme presentable in modern formats. An example: When needed, I can connect to Premiere Pro V 14.0, invoke Capture, shuttle my Sony DSR-45 deck to select from a DVCAM tape. I log clip names, set timecode, and other fundamental aspects as I go. The project bin is built with ready to cut clips as I proceed. Then I can cut a show on any version of Premiere. All this is still available on a older Mac or Windows device, under an older OS (Mojave). I have two machines for exactly the kind of occurence we're experiencing now. But it's real annoying to switch. If I understand the recent announcement, Adobe has lobotomized itself from that important portion of its corporate brain: CONTINUANCE. Build on what came before, not ejecting it as "not modern." We are not part of a user beauty contest, we are craftspeople, many of whom grew up on this app. We need comprehensive tools to get a variety of jobs done, from old sources and new. Not pushing out old stuff with new stuff. New always gets Old. New is a fleeting marketing aspect, not a lasting value. Function, convenience, good UX. That's where the app's true beauty lies. Hey, we're talking about preserving a compact Capture module backed by a list of compatible Firewire and other deck protocols. There's little space needed. What came before costs NOTHING to Adobe, the investment was made, it worked well, and should hang around because it will remain an asset to tens of thousands of filmmakers, earned its place and should still function, even on a Mac Studio M2 Ultra. Yes, I'm aware there are "outside solutions" to acquire tape material. Even QuickTime Player can take a digital video feed. CAT DV maintains its original tape workfow support in its logging app's Professional Version. But once that transfer is made it has to be imported, integrated into a Premiere Project bin, ready for cutting.  I'd rather be a postman. Why lose the capability and convenience of deck control easily achieved from Firewire 800 to USB-C adapter connections, with precise clip-to-clip log and transfer text fields within the app? IMHO, it's plain poor thinking that ignores a user base that grew up on Premiere Pro. Love to hear from other users pro and con. Best as always,Loren S. MillerNeoTron Cinema Group