Also an invert option for the crop would be good. ... View more

Strip silence (like Avid / Audition) could be useful to achieve this - https://helpx.adobe.com/uk/audition/using/strip-silence.html ... View more

Lots of us are well used to, and like, the Avid implementation where you can switch the timeline to view the source - including source clips - with waveforms. So no difference in screen real estate for laptops, no blocking of source clip video and ability to see source video & waveforms AT THE SAME TIME ... View more

For me it would ideally be the background colour that would differentiate DX/FX/Mx tracks, with source clip colours still working. Also some indication in the track lights to indicate which tracks you are dragging clips to. (Just a subtle shift in colour would do it). ... View more

How Avid does it... ... View more

@VARGEO Avid does this - it is often useful - but, crucially, it's an *option*. (Plus avid allows you to patch from any source track to any timeline track, plus has 'autopatch') ... View more

The short answer to this, like many of the outstanding feature requests, is to copy how Avid does it. They have an option to auto create source tracks. They show all source tracks, regardless of number of timeline tracks. They allow those source tracks to be patched to timeline tracks. They have an option to 'autopatch' selected source tracks to selected timeline tracks (rather than having to do it manually). Their track shortcuts (A1-A99) are the same for source + timeline, affecting what has focus. Be like Avid:trade_mark: ... View more

The fact that you can't patch from A16 on the source side *unless* you have 16 timeline tracks is ridiculous. (Autopatch too please!) I do sometimes enable the 'add tracks to match source' and 'auto enable source tracks' in Avid - mainly if I'm making string outs + need to see what's on all 16 tracks. But 98% of the time I want both turned off. ... View more

@matt Stegner Yes I would like to *not* have to disable tracks via the audio channels setting - this may affect others using the clip and it is not apparent that the clip tracks differ from the file tracks. I want to be able to patch (say) A15 source to A3 timeline *without* creating any extra timeline tracks and *without* semi-permenantly removing source audio channels. Here's a comparison. In PP I have to click the + to create matching timeline tracks to even *see* how many source tracks there are, then manually patch A4 to A1, then clean up by deleting the excess tracks. In Avid I can have more source tracks than target tracks (it will, optionally, create more tracks if I edit those source tracks to the timeline). It autopatches A4 to A1 when I deselect the other tracks. No excess timeline tracks to then clean up. ... View more

@bruce Here's how we get to set the option in Avid - both 'auto create' new tracks to match source and 'auto enable' source tracks can be set. ... View more

This would be my third request to go with Autopatch and track toggle shortcuts that are source/record based (rather than always being record side) https://www.dropbox.com/s/sy71wfce2tksgbg/detailed%20autopatch.mp4?dl=0 ... View more

In Avid it's an option (see - https://forums.creativecow.net/docs/forums/post.php?forumid=45&postid=872677&univpostid=872677&pview=t ) and I use it both ways. Sometimes I want to add all the tracks (e.g. editing a sequence to a sequence), more often I don't as there are 16 source tracks, 14 of which I do not need and I want to keep my timeline track count down to 8-10 for screen estate purposes. Would also require that we be able to see 16 tracks on the source track selectors, without having to add them to the record side. ... View more

Regularly use this in Avid ... View more

My problem with pasting in this way is those extra tracks above v5 now need managing / deleting (same as crazy way PP creates extra timeline tracks when source audio tracks exceed the number of target audio tracks ). BTW You could get this behaviour (paste time newly created tracks) with current arrangement- just lock all tracks before pasting. The current arrangement works for me - I just deselect all targets for V&A before pasting. ... View more

I’m in favour of the FB pressure too - lots more folks interact there. Both FB & UV are pretty rubbish for searching though. ... View more

https://forums.adobe.com/message/10624890#10624890 Is the forum discussion that prompted this ... View more

Despite much effort, I can find no combination of source track - mono/stereo/adaptive ; sequence mono/stereo/multichannel ; sequence track mixer panning & routing; sequence modify audio channel assignment where I can put a 3 channel audio recording (boom,lav1,lav2) into a multicam sequence and have it then pass through as 3 tracks in my edited sequence. Maybe there is a way - please do let me know if there is - in the mean time I have to edit flattened audio with multicam pictures. Editing in the source sequence is cumbersome & cannot be predictably flattened for handover. ... View more

Still broken in 13.1.3 ... View more

Still apparent in 2018.1.2 https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/34944241-12-1-2-still-has-dynamics-bug-audio-glitch ... View more

I think this bug is related to any plug-ins on the master bus of a MULTICHANNEL sequence. I created two sequences, one stereo and one multichannel. I put a master bus 'loudness radar' on both and put a small audio clip down at the end of the timeline (so that it would play silence). The stereo sequence plays without glitches, the multichannel plays with glitches. Additionally, plug-ins on the multichannel master bus ONLY affect track 1. This is indicated by the fact that there is no 'fill left with right' plug-in. WORKAROUND is to create stereo submixes to feed the multichannel master bus and add plug-ins there. Fixes both problems. ... View more

Still needed.... like Avid timecode burn in that will burn in all sorts of sequence & clip metadata ... View more

Yes please ... View more

I can see how it would be useful to have alias to common projects (eg a SFX project) that is then kept updated amongst all productions.   In Avid you add them as 'favourite bins' to a project (Avid bin/project =~ Adobe project/production).     ... View more

Blimey, I can't believe the level of interest in autosave!    That said, I'll add my tuppenorth...   I definitely need a reliable, regular save (cos, crashes) that is as invisible as possible. I very rarely need to go into autosave vault. Current behaviour is actually pretty acceptable (though I would like control of 'inactivity' period with a 'force at X mins' override - see 5. below)   1. Seems like this isn't 'background save' as I'd understand it, or it wouldn't wait for a break in editing. It's just hidden the progress bar. Which is fine.   2. Presumably 'waiting for a break' is current behaviour too - which explains why I see much longer gaps in autosaves than the 2 mins I have it set to.   3. Please make 'autosave saves current project' the default. Especially in productions.   With this set (which matches behaviour in Avid) the *only* two reasons to need to go to autosave vault is a. corrupt project file (rare) or b. to revert to a previous edit (also rare with sequence versioning)   4. The copy of the current project in the autosave vault is then pretty much redundant + a waste of cpu/storage io. Last modified version in vault should be the one *before* current save.   5. Avid offers granularity in the 'break in editing' wait. So you can set autosave to 3 mins, with 'inactivity' set to 15 secs, but 'force' autosave at 10 mins.    6. Could the 'vault' versioning be set to keep, say,  last 5 autosaves, then hourly + 24 hourly autosaves. (Maybe done on file size rather than strictly on time + would therefore better reflect big changes). ... View more

Are you planning to have a similar function for productions?   Also the Avid 'favourite bins' feature is very useful. If I mark a bin (ie a project in Adobe productions) as a 'favourite' then it appears in any project (ie a production in Adobe) I open.   Thus my SFX, VFX etc bins appear in every project + are updated as I make changes/additions to them. They are left in the original location (Google Drive for me).  ... View more

Thanks Fergus, any chance of *importing* embedded AAFs in the future?   Resolve does this pretty neatly by linking to the media *within* the embedded AAF (although it falls down on not then being able to project manage the embedded media to separate files). ... View more

Oh there's no sound it's just a quick video guide.  ... View more

1. You'll probably want to figure out a way to get 5.0 output to 5 speakers (even if they are Logitech).  You almost certainly don't need the sub initially - figure out 5.0 first. (Or maybe even do 3.0/LRC first - you can then upmix the LR to 4.1 and leave the dialogue in the centre as-is - this is how quite a lot of 5.1 content is generated. No fancy pans that way, thankfully, plus it should be guaranteed to downmix to stereo without sounding terrible). 2. Create a 5.1 sequence. Master bus will be 5.1, source tracks can match your sources (i.e. standard / mono etc). Start with a standard track with tone. 3. Learn how to use the 'touch' setting of the track mixer to record fader movements and view/edit them on the timeline. Find out how annoying they are to edit / move / delete. 4. Now do the same with the 5.1 panner - the keyframes live under track keyframes front/rear, left/right, centre and LFE   Attached is a screen recording of same. Have a play around. (I think you'll get bored of the limitations pretty quickly.)  Even though centre is muted the sound will appear to travel across the centre of the screen (look up phantom centre).  ... View more