Ok ... this is what I see ... click on a clip on a sequence, then in the tab for that sequence up in the Source Monitor panel, the effects applied to that (or natively available) appear as such ... If you don't see this, after clicking on the clip in a sequence, then maybe choosing window->workspace->reset workspace may be needed or useful. Neil ... View more

I'm nowhere as experienced as Ann, but yes ... I've had some interlaced footage and simply edited it as such and then during export set the export for progressive. There are ways of handling mixed footage on a sequence but that's past my "ken". I've avoided it as it seemed simpler and hey, I'm the DP & the Editor & the Colorist here ... ha. But again ... just edit on a timeline set from the source material, and then export as thou wist ... Neil ... View more

Dan, An ACR interface still leaves you depending on your eyeballs ... and that ain't good. I asked for that when I first "hit" digital two years ago, and now though at times it would be useful, well, I wish SpeedGrade was designed more for stills workflow. I'd love to get an Sg interface in Lr! For a little background on credentials to talk ... I've got 36 years now of being a studio/environmental portrait photographer. Yep, same as the missus (though I've got three years on her) ... we've both got our PPA Masters & CPP, I'm two credits from a Craftsman degree. It has been our ONLY family income for all that time. Our stills are done on my D3 or her D600, though even with that she steals my D3 every chance she can. We've been a Lightroom shop for years now. Since 1 in the last beta-cycle, actually. Sg has a unique interface, and some parts I wouldn't mind changing, such as that choice to go (as the Adobe apps went) to the dark blue text on charcoal. 'Nuff been said on that, I think there might be changes next 'cycle'. However, mostly it is fast and amazing for what you can do ... when you learn HOW to approach video color correction & stylistic work, which is very different from stills. And then learn a bit how the Sg interface does do its magic, and much of the time, it really is magic. There's a book on video correction in general by Hullfish & Fowler ... YOU SHOULD GET THIS. It's mid-$30's even in e-book form, and well worth twice that. You'll understand what needs doing, why, and how the various styles of tools work in different video processing software within a couple days. EXCELLENT book. There's also a book by van Hurkman on getting started in Sg for about $16 as an Amazon ebook .. Amazon.com: Adobe SpeedGrade: Getting Started eBook: Alexis Van Hurkman: Kindle Store Amazon.com: Color Correction for Video, Second Edition: Using Desktop Tools to Perfect Your Image (DV Expert Series) (97… I have both books and review them regularly. Also ... there's some excellent tutorials on Adobe TV, look especially for Jago or Palmer as the 'host' ... Patrick Palmer was the co-creator of what became Iridas then SpeedGrade, and until a couple months ago was still head of the program development. There are also excellent tutorial series on lynda-dot-com and Wolfcrow. Subscription yes but dang they're good. I'm there for a couple hours a week still. When you learn how to look at your scopes for correction work more than your program monitor, you'll be flying through this stuff. Stylistic work blends using scopes & eyeballs. And the array of controls in Sg, from the wheels & sliders of the "default" tool-set, to the mass of individual sliders as the second option, and now the addition of curves controls ... plus Looks that you can make and then apply like crazy on your "standard" stuff ... it's really fast and amazing but VERY, VERY low in Adobe manual & info on it. If you want I can send you a few steps of how I go about things. Neil ... View more

Oh ... where's Bogo when you need him? And yea, some stars have had so much facelifting done they grimace more than smile! Neil ... View more

Don't know what Bogomoletz is ... hope it's a good local liquor or vino or beer ... ! It does seem that the reaction to the color change caught them a little off-guard, doesn't it? And ... well, for someone who's been involved in graphic design for our own studio's marketing for over 35 years, it does seem to violate about every precept we ever learned. Plus, if one does think at all about typical human eye capabilities, it's an odd choice also. And as you noted, one that is even worse for experienced users. Ahem. So ... doesn't bother me these questions keep popping up. I think it's just further push to get a better option with the next "ish" of the programs. Neil ... View more

In the latest version, it's just dark blue ... no options at all other than how darrk tbe gray is on parts of the interface. Please feel free and WELCOME to post both bug and feature request reports on this ... Neil ... View more

Is this what you're looking for? And when 'opened' ... Neil ... View more

A screengrab of what you're seeing would help. Neil ... View more

I'm not sure why you feel a need to accredit Kevin's response with the term "asinine". Personally, I don't see it. He's not the person responsible for the program or the decisions of the lead for PrPro or that guy's main design team. Kevin primarily reports back & forth between them and "us" the users, and the Adobe design teams work pretty "internally" from what I can tell. Due to company policy and also laws concerning publicly traded corporations and "insider news" he's rather limited in many things we (and/or he) might want to say. He's all the way encouraged people to write feature/bug requests on many things including this so they will rise up the vast list of things to do for "the team". "Asinine"? Sorry, just don't get it. Is the lack of movement on this and MANY other things a lot of us users would like or need dang frustrating? Oh, my lands yes. I've had me own knickers in a bunch over a number of issues. And in all, Kevin has been a wondrous resource for the users here and I would have a serious guess he's probably at least at times seen as a pita by the design folks on account of his pushing "our" things up. Flicking him crap over things he has no control of is just childish or ignorant. In my personal opinion, of course. Now, making comments about the lack of response or this or other features or NEEDS ... that's fair game & have at it. On most things you want I'll probably yell along with you. But at the right people ... Neil ... View more

I've kicked in my own ... again. But thanks Kevin, appreciate your work here. Neil ... View more

I haven't actually worked a multi-cam project using the multi-cam setup as ... the only things I've done had a couple clips from another cam to cut in and it was vastly simpler to cut them in "manually". But ... I've got one sitting here staring at me I haven't got to as it's gonna need three cams constantly cut forth & back, one shooting continually (mostly) and the other two on & off. Looked to be a bear, no "hurry" ... would be awfully nice if this was a slicker process. Neil ... View more

Jahredi, I've gotten so dependent on the Direct-to-Speedgrade process I just tried to do an EDL just "cause" ... and even with exporting the media AND the EDL itself at the same frame rate as the original media, Sg kept saying they were different f-r's and refused to put the EDL "over" my footage. It's been so long I don't even know how to get past that. Which is to say that I've gotten to the point of creating sequences of the interview itself (typically 3 to 10 minutes, though sometime more like 30) and the b-roll ... and as each gets at least mostly done I'll take a few seconds to get to Sg and work them. Go back to PrPro for more ... and then if I think they'd be better something else, I'll whip the sequence back to Sg. I'll often initially group clips of 'b' for the type of footage they are, though actually the Master clip feature makes that less needed. Along the way it's not unusual to find I've a different group of stills/graphics for the b-roll side of things. May create a new sequence and work those. I try to add b-roll clips to a sequence in the order I think they'll 'fit' in the interview, and then take either sections of the b sequence or at times the entire sequence as a track above the main interview,  clipping and sliding along so the parts I want show through below as an interesting thing to watch in the playback monitor. Some b-clips are not used at all, but ... I've not spent much time on any of them so what the hey, right? Ae is just for some titles and noise reduction ... mostly. Now, I've done a couple weddings (oof) and other things with vastly different workflows. In everything, the ability to change audio track settings at any time would be a major joy ... Neil ... View more

I'm of the same feeling ... that limitation on changing audio tracks is dam* annoying. I'm a little one-man shop, doing a high percentage of interviews interspersed with b-roll footage, stills, and ... more frequently now ... extra audio. Often I do NOT know at the beginning of the project what audio I may find, figure out how to create, or be given to work with the project. A couple times I've gotten a "new" audio source about the time I thought I was done. So audio is naturally the LAST thing I polish. I realize for say the music video crowd, they do their audio first and add clips to match. I cannot. Period. Neil ... View more

Ok ... well, don't have any DNG footage here myself ... but I know there's more coming out there. Hope it's near the top of the priority list to increase PrPro's (and the other DVA's) DNG capabilities ... it is an Adobe um ... format? ... after all ...   Neil ... View more

Sorry, no ideas ... and in fact, this is a problem I ain't never heard of before either ... although I do know some of the Retina's do have some video prob's I think it is, and so hopefully Kevin or Mark or someone can help you out. Don't know what in the world would cause this ... Neil ... View more

Ouch. Here, the ol right-click a clip on a timeline and choose "Replace with AfterEffects Composition" takes me right over there, the whole selected clip. Getting only a single frame? Something's very wrong in your setup ... bug or something corrupted in your installations or something. That is not proper nor expected behavior! Hope Kevin or Mark or someone can sort this out for you ... Neil ... View more

Puzzled ... "The annoying thing is that sending a clip to After Effects from Premier does not work - After Effects only recognizes a single frame, not the sequence. Bummer!" So ... you select a clip on your timeline, try the Dynamic Link to Ae, and it doesn't show up in Ae? That's ... odd. Am I missing something here (which is quite possible, I must state ...  ) Neil ... View more

Putting a screen grab capture of your sequence setting would help us. PrPro can both edit and export 60fps. Neil ... View more

Great post jonabell. I've been primarily on the PrPro & Sg forums. Intriguing that some folks simply refuse absolutely to consider all the scientific facts about human visual perceptions for different frequencies (hues/colors) of light and state that categorically any objection or claimed difficulties with the blue schema is simple whining about not liking either the color blue or simply being a hater of change as stated earlier in this thread. It is rather accepted scientific fact blue is difficult for the eyes, much as I love the color. And for many men especially deeper blues and charcoal are indistinguishable. Not a "preference" issue at all. If your eyes can't see or distinguish this easily you will get eye strain and headaches. Physical in cause, and something that can not be changed for the better by continued work in the situation. Or wishing. Neil ... View more

Put one in myself ... yea, this would be a handy one. neil ... View more

Feel free to fill out a Feature Request form & send them in ... they do actually read them & ponder on contents. This has been asked before, especially as Ae has such and it works slick. Neil ... View more

There's been the occasional  discussion that PrPro's initial sequence settings box should either be modified/simplified or simply done away with UNLESS the user sepecifially invokes it. This confuses EVERY newbie to the program, causing hours of problems before they get this one silly thing learned. Unnecessary details that are only of help to experienced users on a few occassions. I think we all had this problem. Neil ... View more

Thanks. And useful info ... I'd missed this. neil ... View more

In the lower left panel, when you're working a grade, at the bottom of course is the P, S, +, & other things? If you click the " + ", the top option is Blur/Sharpen. Under that are the sharpening options in Speedgrade ... and I believe they can be masked to affect specific areas. There isn't an equivalent "clarity" local-contrast-lifting option I can think of off the top of my head ... In a Secondaries layer, there is a "denoise" option especially meant for noise that might have become more visible due to the controls applied through that layer. Not sure how much general effect it would have, as there are not sub-controls for it. I think there are a couple things people have used, perhaps NeatVideo or something that might have a plugin for Speedgrade? Within the Adobe video programs, the one with the best de-noise features is After Effects ... Effects/Noise & Grain/Degrain ... Feel free ... in fact, ENCOURAGED! ... to put in a feature wish-request with Adobe for a clarity control in Sg. I've done that oh, a few times ... ahem ... the more the merrier, and the more likely we are to get it. Neil ... View more

It seems most things in Adobe programs have at least three ways of accessing/accomplishing the task ... thanks for pointing out this one. Neil ... View more