Tldr: Full support of modern codecs -- and especially raw based ones -- should be a higher priority (even over new features).
With an increasingly larger selection of powerfull / flexable file formats being adopted by camera's (Sony A7siii, FX9, BMD 4/6K, Canon R5, S1H etc), it really pains me to see that Premiere (and AE Media encoder) repeatedly does not support these files.
The creative cloud always was this selection of tools that did most things within the ecosystem including file support. At the moment the video format flexability fragments the workflow so much that it becomes borderline impossible to work with within said ecosystem.
Proress Raw and especially Braw (it being 'opensource') you would expect some kind of support within a resonable time frame. Currently you can sort of open both files in the program but Editing the files to their full potential either requires thirdparty plugins (braw) or is limited to exposure sliders only.
I realise this comes of as a little bit of an entiteld rant but this is a high end paid proffesional software package and like i said with so many camera's on the horizon adapting Proress Raw, Braw or other Raw flavors it would be highly 'logical' to have support for it within a reasonable time frame or at all.
This is a public forum with "some" Adobe staff participation, use the links below to make a report or request
-for Video & Audio & Animator programs https://adobe-video.uservoice.com/
This forum is primarily user-to-user with some oversight by Product Support.This of course includes the need for ranting, which with all the pro-level NLE/vfx apps is needed from time to time. I use several, and each user group has a list of the things that "we" can't figure out why they haven't already done.
So feel free to comment on this and other things here ... you'll not find any disagreement on what you just posted! I shoot primarily BRAW, and do need to work with some ProRes RAW and RED and other 'upper' media. I bought the Autokroma BRAW plugin for Pr/Me as the free BM plugin is worth (for any practical use) exactly what you paid for it. Zilch.
And you're right, the ProRes RAW Master controls only having an exposure slider is nearly useless.
Their public beta forum has had discussion on the ProRes RAW work they're doing. You might go over there and post also ...
There's a thread there on RED Komodo support, HLG/Rec2100, scene-edit detection ... other things you might be interested in.
To post directly to the point with the development team, post over on their UserVoice system, as all posts there are read and logged by at least one engineer and delivered in collated form to the upper managers who determine budgets.
The Adobe business model (subsription) in correlation with the PIE CHART of users of the entire world ( not just your country ) determines the direction of the company and priorities. It is a program fundamentally for hobbyists. Just like most people now use drones, iphones, and point and shoot cameras ( go pro etc.), the BULK of users are hobbyists... that's the biggest slice of pie. Pro post houses don't use Adobe. Nobody here uses pro cameras ( or gets source material from them to edit ). I'm talking about movies for projection, TV broadcast, and TV commercials ( high end with real film crews ).
The only way to know what is really going on in pro post houses is to wriggle your way into the building and get a tour somehow... which, being as they are basically 'factories' and have little time for hobbyists, will be almost impossible for you to do. And you'd have to go to hollywood or NYC to find those places ( Hudson St. in NYC ). So you'll never find out what's really going on in the pro world, and this forum has no person in the whole world contributing to this forum who does that kind of work.
What constitutes a professional? Isn't a photographer, designer, dtp'er, animator, camera operator, (or even better) is a (camera/tech) youtuber a professional? Or are only a large posthouse, agencey etc a "pro"?
And do these 'hobyist' -- that pay ~ €700 a year for tools that help them make their living -- not be allowed the latest tools/camera's to improve the quality or ease of use of their end products? Like it or not, highend gear, features and yes.. codecs make their way to cheaper camera's too (so it's not longer just an large posthouse thing). But why choose to stay behind the curve when Final cut and Resolve (not for Proress, granted) do try and support codecs.
Sure there are the solo or small team proffesionals and the large hollywood style giants and there is a difference there for sure but regarding Premiere being some toy is highly disagreable. It's just an other tool, one that, I -- like many other like me -- would like to do just a bit better in some aspects. When i look at how fast Adobe Xd is being developed and itirated upon i just wish for the same kind of (larger) improvements for the video side of things. I remember in the days where the new CS version came out and you where stoked about the new features 🙂
Now that I said that... give this some thought....just to understand what's at stake.
Let's say you have a factory ( pro post house ). You work on stuff ( prior to virus ) non stop, with deadlines for dailies and roughcuts and mixing and VFX and all sorts of stuff.. very high end.... and it is every single day for years on end... a non stop FACTORY ...
a) would you let a 3rd party ( adobe ) into your pocket ... and automatically commit to paying them x amount of money every single month to keep your factory working ??? If the factory uses mechanical robots and your assembly line is working non stop, would you let someone put their hand in your pocket and then tell you " We've decided to only support the new versions and you must shut down your assembly line and upgrade."
Now, can you then think to yourself, " Well, gee, I'm in the middle of a year long edit of a million dollar movie and don't want to risk changing the software of all my robots now, and I can't just shut down everything and test if the new software will work properly ." That is the most idiotic thing I can think of for film work and editing. It's absolutely STUPID.
Trust me... not one single person here knows what pro editing is all about for high end professional work.
Fascinating speculation, but so provably wrong that it's not worth the read.
Last Sundance is an easy target ... the majority of films shown were cut in Premiere. That's over 50%. The rest split between Avid (who has typically been the Big Dog in long-form), Resolve, FCPx, and a couple others.
As I just noted, Avid has been and still is the Big Dog for long-form, but several recent majors have been cut in Premiere Pro.
Next ... a lot of the network b-cast setups do use Premiere on a daily basis. I work with some of the people who have worked in there, and of course am around the colorists who work with that material. And here about their issues with Premiere for good and ill all the time. As they have the same types of issues with Avid and its quirks, and FCPx and its quirks.
Go to the other pro forums ... LGG, Creative Cow ... yea, there's plenty of discussion of Premiere by those who work in daily b-cast/streaming and long-form. As there are for Avid, Resolve, FCPx, and others.
no problem. Your level of 'working' is so low on the totem pole it's not worth the effort.
The main thing is that the users ( subscribers ) no matter where they are in the heirarchy of telling stories and getting nice products delivered, ( hobby people or young people or old people or whatever ) GET what they want and spend more time doing work rather than solving problems with the software and their platforms.... Face it, Neil, this thing is sloppy progamming, stuffing 10 pounds in a 5 pound bag for many years, to be a "suite" ... and you are so nice to be the KING of abobe now.... with all your wisdom, I am so proud to know your posts.
pretty funny, in a sorry way... I'm talking to a guy who shot still photos of weddings in Oregon or wherever, and never worked one day in his life on a movie or shot anything with a pro camera ( film or digital ) on a movie set... and he's telling ME what editing is about... god gawd, what a joke.
So ... the major features that say they've been edited on Premiere, well ... they're all lying.
All the entries of the flicks at Sundance ... the ones that said they used Premiere were all lying.
The network people I've talked and worked with, who work daily in Premiere, they're all lying.
I was in a 2-person discussion at NAB/2019, other guy was from the group that had just done the Grammies ... discussion was how do people get started in mogrts production, wanting both the small/independent view (me) and the network view (him). According to his stuff, he'd been one of a couple hundred doing the prep/production for the show, and gee ... that work was mostly done between Ae/Premiere.
The colorists that I deal with daily work everything from National Geo through network b-casts/streaming services and I think they are capable of telling when they get work from Premiere to grade in Resolve/Avid/Baselight ... which they do on a daily basis.
At least, I would think so. But apparently you think most of the major pro colorists all are liars.
Well ... that's a rather wide-based indictment.
And none of it includes my work or my opinion.
Yeah, don't mind me, Neil. We live now and have lived in two very different worlds. And sometimes I rant about you in a much too personal way, which I apologize for. I seem to be getting worse since this virus stuff has basically locked me down in my apt. Probably losing my mind but certainly losing my sense of respect and common decency.
The points and facts about what is used and who does what is irrelevant really.
The reason I came back to this thread at 4 am is cause I felt bad about what I wrote and wanted to delete it, but since you already saw it I decided it was better to admit what I wrote was mean spirited ( and apologize ) rather than try to pretend I never said it.
I get a pension from the motion picture industry ( MPIPHP ) and I hope you and your friends join the local IATSE union ( for editors etc. ) so the pension plan doesn't become a dead duck. At this rate it's extremely possible. The only people I know who are working now are striking a set at a sound stage that sat dormant for MONTHS ... cause the show was cancelled a long time ago but nobody could go strike the set until now.