Rob, each team has someone who reads every last one of the wishlist/bug reports.  I've talked with Jim on the Adobe After Effects team who is currently the one reading them a few times in person. Everyone, if completing a bug report (and ideally everyone who's taken the time to write a post in this thread will), be sure to include as much information as possible about your system and your source footage. It may seem like it's enough to just say, "PR cc2017 was responsive and PR cc2018 isn't"; however, it's the sum of the parts that make a smooth working workstation (or in this case, not). ... View more

By its very definition, if the master clip isn't available from media start to media end then it's not a Subclip. However, a "Segment from master and make proxy" in the Edit Subclip dialog box could eliminate what's involved in doing this manually. This isn't exactly what you're looking for, but you can select your Subclips in the Project tab and export them to create segments from your master clip, import those and create proxies from there.  If taking that approach, hopefully your 4K footage is at setting that can be recompressed without compression generation loss (like Cineform 4 or Apple ProRes 422 (LT) or better). ... View more

I second that! ... View more

There's a general rule in filmmaking that comes from the days of having your picture on film negative: Your film negative must always be treated like it's worth more than gold because without it you're taking nothing to the bank.  Now that we've transitioned into digital images, the same rule applies to your camera originals.  One could make the counter argument that as long as one is telling a strong story an audience is willing to forgive poor picture quality, but that's very much an exception to the rule. There's also having the confidence that while the picture is under your control that it's always a high quality image. If you just go with Cineform 3 or 4 or ProRes LT, you can forget about the rest and focus on everything else that needs attention in visual storytelling.  When you're ready to upload to YouTube, a 1st generation clip at the YouTube or Vimeo H264 presets in PR and AME will hold up just fine. It's unfortunate that someone even made a camera that records audio to AC3.  It's just as unfortunate that someone made cameras that record to long-gop MPEG2.  ... View more

Sebrame: For "mezzanine" or editing CODECs it's all about compression generation loss.  That is, does the picture quality diminish if you transcode the footage.  Read the Apple ProRes white paper that I linked to and pay close attention to the section on Peak Signal Noise Ratio (PSNR).  Does your workflow require the assurance that a 10th generation clip will look as good as a 1st generation clip?  Or that a 100th generation clip look as good as a 10th generation clip?  It doesn't sound like it does.  If you were on Mac, I'd recommend Apple ProRes 422 LT.  Since you're on Windows, Cineform 4.  However, you could opt to not transcode your camera originals at all.  As long as you're happy with the image quality of the video that you publish, you're good to go.  Important note:  don't underestimate the importance of production value whether you're doing a 30 second social media piece or producing what you hope to be the next Oscar contender.  An important take away from your observations is that you can't tell how well a CODEC will hold up to being recompressed with the naked eye. In a perfect world, all of our video would have no compression.  Have you researched color depth yet? -Warren ... View more

Following up on Kevin's post: If you are not being Red Bars above the selected clip(s), you'll want to try a lower Playback Resolution or creating proxies. -Warren ... View more

You could try "Replace with Clip > From Bin", but I'm not sure how well that's going to work.  It should as long as you have just the original audio selected and the sweetened audio matches the original audio's time code and duration. To replace with clip from bin: Select the sweetened audio only clip in the Project tab. In the Timeline, right click on the original audio while Linked Selection is disabled and choose Replace with Clip > From Bin. Repeat as needed. Rather than using Merged Clips, use Links (Clip > Link) or Groups (Clip > Group). If you want to replace the original audio with the sweetened audio: Disable the Linked Selection button in the Timeline (it should _not_ be blue). Select the audio clip boundary and then clear it (Edit > Clear). Add the sweetened audio where the original audio was. Select the video clip boundary and the sweetened audio clip boundary and choose Clip > Link. Repeat as needed. If you want to group the sweetened audio with the original audio and video: Add the sweetened audio to Sequence in sync with he original audio and video. Select the clip boundaries for the video, original audio and sweetened audio and then choose Clip > Group. With Linked Selection disabled, select the original audio and choose Clip > Enable to disable the original audio. Repeat as needed. If you have locked picture and will not be doing any future editing, it's common to just drop a new audio mix (usually with stems) under the original audio and then disable or delete the original audio. For your next project, you might look into Premiere Pro's Edit Clip in Adobe Audition feature. ... View more

For Cineform, you'd just pick "Cineform 4" and leave it at that (and maybe cross your fingers that you have enough disk space to store the transcoded media). For professional CODECs for editing, the bit rates are mostly fixed based on the intended use of the footage (High Resolution, Low Resolution, etc.) and determined by the CODEC.  It's delivery CODECs like MPEG2 and H264 that allow the user to set bit rates (usually a target bit rate and a maximum bit rate). Apple and AVID post detailed information about their CODECs. Here's a link to the Apple ProRes white paper: https://images.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf Here's a link to the AVID DNxHR white paper: https://www.avid.com/static/resources/US/documents/dnxhd.pdf Digital Rebellion has a great online storage calculator: Video Space Calculator - Digital Rebellion ... View more

If you have one or more clips selected in the Timeline, you should be able to choose Sequence > Render Selection from the Sequence pull down menu. As you'll probably use this often, you can set a custom keyboard shortcut in the Keyboard Shortcuts dialog box (Edit > Keyboard Shortcuts, Windows or Adobe Premiere Pro > Keyboard Shortcuts, Mac).  In the Keyboard Shortcuts dialog box, enter "Render Selection" in the search text field and that should filter the list to Application > Sequence > Render Selection.  You can click in the Shortcut column to add a shortcut.  If you haven't set any other Keyboard Shortcuts, "Shift Enter" should be available. ... View more

Did you pick an Inspiron out yet? I took a quick look at what Dell's currently offering.  The laptops starting in the $600 range will be good for 1280x720 and/or 1920x1080 work.  The laptops in the $900 to $1,100 range will be really good.  If you're looking to do 3840x2160, then you're probably in for some very slow AE render time on anything that isn't a well configured Inspiron for gaming. Make sure whatever you pick has at least 8GB for RAM.  16GB is better, or 32GB (if available an option at all) is even better.  As far as internal drive storage goes, get as large of a hard drive as your budget allows for. If there is an option for an SSD drive instead of a standard laptop hard drive, you'll appreciate that as well (however, this usually means a pretty large increase in price). ... View more

Good news! Could I trouble you to make my post as correct? ... View more

Did someone in this thread already suggest right-clicking the nested Comp layer and selecting “Reveal in Project”? Or have you tried one of the flow chart views? -Warren ... View more

Good news! ... View more

Assuming that the GIF that I've added to this post is playing as expected, is this close to what you're looking for? -Warren ... View more

In the Project tab, reset the search text field (click the small "x" that should appear to the right of the text field when you click inside it). In both of your screen shots, you have text entered in the text field.  As such, AE will only display items that match that search criteria. -Warren ... View more

It looks like you're tilting the dragon layer (adjusting the X Orientation or the X Rotation) such that the top portion of the dragon is going behind the gray layer behind it. Hide the gray layer behind it (you'd probably want to set the Comp Background Color to match the gray color as a replacement) or adjust the gray layer's Z Position to a higher value to send it further back into Z space. -Warren ... View more

Do you have Illustrator or InDesign?  You can save your artwork as PSD, PSB or TIFF, place it into an AI or INDD and then save to or export to PDF from there. -Warren ... View more

You may need to reach out to the publishers of Nik software and verify if their software is compatible with High Sierra.  A lot changed under the hood with this release of macOS. ... View more

Do you happen to know if the .cfa was generated within AE?  Or was it imported directly?  (I know that I'm asking this an you may have no idea as you're just using AE and expecting stuff to work as expected.) Somewhere you should have a file called "emailer_1.mp3".  I'd try converting that to a WAV file and then replace "emailer_1" using File > Replace Footage. You could also try to empty the disk cache and clean the database and cache (Preferences > Media & Disk Cache) as Katie suggested.  I'd also restart after doing both of those things. Plan B (or maybe this is C?), remove any layers with audio, export Best Settings Lossless (the file will be huge), and then try adding the audio to the rendered picture in a new AE project or in Premiere Pro.  Then export as you would have normally. -Warren ... View more

You would want to inspect the original file for what's actually contained in the audio tracks.  It could be that none of the audio channels contain dialog. Quick question:  Where did the source footage come from?  In television production, there's a point in the workflow where the edited master is accompanied by "splits" (that is, the sound reduced to four tracks but still separated by dialog, music and effects).  Usually the picture and all the sound are all kept together, but it's possible to have a video file that's just the picture, music and effects with no dialog. ... View more

What happens if you open Adobe Bridge CS6?  Of what I do remember about troubleshooting Mini Bridge, Adobe Bridge needs to be running in the background.  Mini Bridge was great.  I found it disappointing to lose that feature to "legacy technologies". Someone may have a suggestion on how to get Mini Bridge to work as expected with your computer set to the current date, but being that it's officially a legacy feature I'm not sure that you'll get an answer from staff. ... View more

Quick update: I just tried adding a ProRes QuickTime directly to AME and exported it to HEVC (H.265) Match Source - High Bitrate and the timecode in the resulting MP4 file matches the original MOV (00;59;59;29 in the MOV and 00;59;59;29 in the MP4).  I am using AME 2017.1.2 Release Build 11.1.2.35 under macOS 10.12.6. ... View more

Are you coming from Premiere Pro or adding the QuickTime file to AME directly? Try creating a new Sequence from the ProRes QuickTime file in Premiere Pro and manually set the Sequence Start Time to match the source clip start time.  Then send that to Media Encoder using the HVEC Format and Preset.  The Timecode from the Sequence should pass to the exported MP4. ... View more

It might also be worth mentioning that Continuous Bezier Temporal Keyframe Interpolation and Bezier Temporal Keyframe Interpolation could appear to be identical until you adjust the corresponding path in the Graph Editor.  So, there is a difference, but it is not going to be obvious if all you're doing is going back and forth between Continuous Bezier and Bezier. ... View more

You may need to take another try at explaining what you're looking to do.  As written, it sound like are changing the velocity without wanting to change the velocity. If you're looking for linear temporal keyframe interpolation (constant speed), you can select all of the keyframes and then set that in the Keyframe Interpolation dialog box.  You can also do this by holding command (Mac) or control (Windows) to toggle through the various keyframe interpolation methods.   Also, have you looked at the Graph Editor?  As that visualizes the adjustment, it may be a better place to adjust your keyframes than the Keyframe Velocity dialog box. ... View more

Your best bet would be to purchase the laptop from a retailer that will allow you to return it and/or exchange it.  If it's not meeting your expectations, you're not stuck with it. For "good" performance, you're probably going to need to budget at least $1,000.  ... View more