Skip to main content

Filter by idea status

10000+ Ideas

Max DTKnown Participant

Re-link To File: Swap External Image Links w/o Flattening and Re-purposingOpen for Voting

Hi Everybody, Now if there's a way to do this, hoorah, but I really don't think there is and there should be. Photoshop needs to have linking capability similar to InDesign and After Effects where I can create an array of elements/objects and link them to various external images. Right now, in Photoshop if you Link to File (or Re-link to File) and you have four instances of this link, it will change all of the linked images. This is good, but if I have e.g. 4 different thumbnails (or storyboard frames) I don't want them all to change. The only way to create separation with this linkage is to flatten the image which is destructive and resets the scaling % and anything else similarly, fx etc. that was done to it which makes more work. So I then have to do that all over again or everything has to be embedded for every single instance. It would be SO NICE to just be able to "pop and swap" externally linked images to make an array without having to flatten and re-purpose each one.  I've tried a number of things including embed file to reset it, then attempt to link to another external image. Photoshop still then re-connects all the other instances/objects to the original external image and converts/relinks them all. As far as I can tell, there's no way to do this and if I have an array of 24 externally linked images...that's a lot of work that would be a breeze if I could just swap out the externally linked image with another one using the push of a button and not change the entire set.  Thanks for reading. 

Premiere desperately needs better masking toolsOpen for Voting

It's 2024, Ae has the blueprints for everything you could possibly want when it comes to the ability to create and animate masks, why are Premiere's tools still so primitive? I understand that you can just work between the two but that's not always ideal especially if you just need to mask one thing quickly. It doesn't make sense to have to use two different apps when the tools should exist in both. There needs to be a better way to control the size, shape, and animation of a mask. For example, when creating a rectangular mask why can't I just scale the entire thing up to fit the size of my frame instead of having to position each point individually? Having to move each point on its own means doing a lot of guessing as to where exactly they need to be especially since there is no real snapping in Premiere. Also, in the year of our Lord 2024, why can I still not adjust what kind of keyframes a mask uses? I'm stuck with only linear keyframes? Just because? So I'm stuck manually adding additional keyframes to make the mask follow the animation in my footage. Not ideal. Again, After Effects has none of these issues, and while I am aware I could just work between Premere and Ae, that's not an ideal solution for me and it severely gunks up my workflow. Having just a few simple features added to the masking capabilities of Premiere (scaling, bezier keyframes, etc) would be so incredibly useful and would save so much time and frustration. Honestly, it would be a dream if one day Adobe released something similar to Davinci Resolve. An all-in-one editing program where you could do both non-linear editing and motion graphics work without ever having to leave the one platform. But I understand that would be an incredible amount of work and why waste that time and money when people are happy enough using the two separate suites? But one can dream.

Option to Have ACR Distortion Tool Constrained to Only Horizontal or Vertical DirectionOpen for Voting

When digitising art paintings by panning the camera - taking multiple shots - and then stitching them together with Photomerge, the resulting image usually contains significant concave distortion along the long edges (especially when the art has a high aspect ratio of 3:1 or greater). In ACR (as a filter) the distortion tool can straighten these curved horizontal edges well, but because it works in both planes simultaniously, this then results in the vertical sides (that were relatively straight to begin with) taking on a convex curvature. The only way I've found to adjust the image is to firstly get the "best compromise" to all edges in ACR using the distortion tool and then attempt to "fine-tune" the image using warp transforms. If the art being digitised is already framed then this technique doesn't work well because it's virtually impossible to get an edge perfectly straight using the warp transform (no matter how many adjustment handles I add). And even if the art isn't framed it's usually still necessary to crop a bit of the image off to straighten the edge out which is less than ideal. A simple (and near perfect) solution would be the addition of a control adjacent to the ACR (as a filter) distortion tool that allowed the adjustment to be applied to (*) Horizontal Only, (*) Vertical Only, or (*) Both. A second (and more complex) solution would be to introduce "square-up and straighten" functionality; perhaps in the same vein as the existing "select and mask" where (optionally) the 4 corners of the object are identified and the high-contrast edges "traced" to identify the edge to the algorithm that then adjusts the entire image in such a way that the edges are parallel and straight.