Had a clip that wasn't showing any colour management options under modify|interpret footage.   Source clip had been consolidated via project manager (back in v13 so no colour management then, right?).   So I did a quick test - and it seems that dnx consolidated media has interpret footage colour management greyed out + op1a xavc consolidates is interpreted as rec709 (even though it should have been slog3.cine3gamma).   I *guess* it's taking the colour space from the sequence, rather than the individual clips?   I also see that the consolidate burns in the colour transform IF the General|interpret log footage setting is checked and leaves it flat if it is unchecked.   BUT it appears NOT to match the colour transform as applied in the timeline though (and it's not a simple 0-255/16-235 levels change either).   Seems to me that project managemt consolidation should copy the source clips with the metadata.    Will try and flesh this out with some screengrabs and sample clips if I get some time.   ... View more

A search window for the timeline, similar to that in files panel, to search for clips in the timeline. Discussion- https://forums.adobe.com/thread/2572083 ... View more

Like ProTools - https://www.sweetwater.com/insync/batch-fades-in-pro-tools/ and this request from a couple of years ago https://forums.adobe.com/message/9156158#9156158 ... View more

Live waveforms for clip gain adjustment is great for balancing purposes. But they are pre any track effects / subsequent bus effects. Be great to see a representation in the master track of a waveform showing how the export will appear. Help to catch and soften any peaks - spot any mis-panning etc by eye from the overall timeline. ... View more

'Adjust clip gain' appears to be absolute only. e.g. select a number of clips, call up properties | 'clip gain' and type +6dB - actually sets them all to 6dB - should be an option for a relative adjustment. ... View more

In most NLEs timecode entry (e.g. to go to a time in the editor) does NOT require the colons entering, or all the numbers. Typically an entry of 12 would take you to the nearest HH:MM:SS:12 Period acts as :00, so 12 period period would go to nearest HH:12:00:00 10 period period 15 would go to 10:00:00:15 Frames entered above the current frame rate are calculated so 35 would go to nearest HH:MM:01:10 in a 25fps project. + and - allow relative movement. PPro is only recently getting to grips with this though. ... View more

eg Session1: Interview recording - needs 2nd mic muting when not used (with appropriate fades), eq, compression, level adjustments etc. Session2: editorial cut of session1, music added etc Ideally it would also be possible to ‘relink’ the session 1 to an updated version. Why?: Mainly to enable 2 people to work concurrently in a fast turnaround situation but also there are times when the same interview may be used multiple times for different shows. Be very useful to have non-destructive & tweakable cleaned master interview. Bonus question: Are there other DAWs that have this? Certainly some NLEs do. (Workaround currently is to do export session1 and relink master file to the fixed wav in session 2) ... View more

Coming from an NLE background we are well used to ‘add transitions‘ to a bunch of edits (including ‘match frame/split/add’ edits). Why? Among many other reasons: 1. To smooth removal of sections (eg umms, coughs, non-speaking sections of iso mics) 2. To smooth transitions between levels of clip gain (eg to compensate for off mic sections ) So it’s definitely a very useful thing to be able to do. IMO Avid media composer does it best with ‘add transitions in to out’ (in to out = time selection) with a dialogue that offers duration of transition, and position (ends at cut/centred/starts at cut and custom). ... View more