Dominic Witherow
Contributor
Dominic Witherow
Contributor
Activity
‎Feb 25, 2025
09:02 AM
1 Upvote
What a great script! Thanks so much for sharing with us. How Adobe haven't enabled a simple linking function for multiple clips at once, I just can't understand! OP's situation must be a very common thing - I know it's something I have to deal with on just about every job!
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‎Feb 14, 2025
03:33 AM
7 Upvotes
That may well be the case, but it doesn’t change the fact that Adobe are trying to sell us an un-finished product and relying on us to test it for them whilst we pay for it. Under any circumstances, that is a terrible con. There is nothing reasonable in their approach. -- Dominic Witherow +44(0)7801653659 www.dominicwitherow.com
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‎Feb 13, 2025
08:28 AM
6 Upvotes
Based on the quality of the 2 trial attempts, I can’t imagine many people will be willing to throw any money away on this terrible implementation. Qwen produces, by comparison, objectively excellent results and costs zero ‘credits’, zero subscription and zero extra ££s. Adobe really should be better than to foist this gnarled swindle on us! -- Dominic Witherow █████████████████ █████████████████
PII removed by moderator
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‎Feb 13, 2025
07:32 AM
3 Upvotes
Turns out it's a con by Adobe to get us mugs to pay for their beta-testing. The results are shockingly bad but they still cut you off after max 2 generations of their visual dribble and then require you to sign up to a new plan to get more of the same garbage. Total swindle! I have one simple word in response to this: 'Qwen'. Free video generation that actually works.
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‎Feb 12, 2025
10:50 PM
4 Upvotes
Firfly Video has allowed me 2 generations then demands I subscribe, ignoring the 1487 generative credits I have in my CC account. I am using Firefly Video (beta) on Safari, Mac OS 15.3, MBP M4 Max 128GB, 4TB SSD I am trying to create a 3rd iteration of a simple video (following 2 terrible previous versions), using an image as a prompt, along with text. Every time I attempt to generate now, I get a pop-up telling me to buy a plan. I already have a full CC plan and a Stock plan and have 1487 credits left of my accumulative 2000 credits. Thanks for any help
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‎Feb 10, 2025
03:03 PM
Thanks! I will try that in the morning. Thanks again! D
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‎Feb 10, 2025
02:43 PM
Hi, to answer your questions: I'm only trying to get it to work on my own system - it's a specific workflow for my personal needs Thanks for the location! My difficulty has been simply nothing happening, so your location information is crucial! ZXP installer consistently tells me my file is corrupted but gives nothing further, so I've no idea what's happening there. I'll work with what you have suggested and see if I can fathom it. As a total non-coder, it's all a steep learning curve, but if I don't try no-one else is going to create the script I need! Thanks for your help!
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‎Feb 10, 2025
04:48 AM
1 Upvote
I have a bespoke-coded, basic extension for PP, which will help my workflow on long-form edits. However, I am having considerable difficulty in loading it into the app. I have conflicting suggestions as to where it should go and I am having no luck with ZXP Installer when I zip it to that format.
Can someone please tell me definitively where I should save the folder for it to load as an extension in PP?
I am using PP 25.1.0 (build 73) on Mac OS 15.3 on a MBP M4 Max with 128GB RAM and 4TB internal storage.
Thanks for any help!!!
Dominic
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‎Feb 05, 2025
01:29 AM
1 Upvote
Thank you, both, so much! There was a mis-match in the language setting (Norwegian!!!) when using the source monitor. Set back to English and it all worked. However, surely this is a feature error? There should be consistency between the various transcriptions? Also, how on Earth did Norwegian become the default language, when everything else is set to a different language? THAT stinks of a bug somewhere. Anyway, it's working now, so I'm most grateful for your help.
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‎Feb 04, 2025
12:23 PM
1 Upvote
Issue: The auto-transcript of my sequence is gibberish (ie just random letters with no actual words in my chosen language - English), but the static transcription of the exact same sequence is almost 100% accurate. How is that even possible??? It must be a mad bug to make such an enormous difference. Tech details: PP 25.1.0 (build 73) Mac OS 15.3 2024 MBP M4 Max 16" 128GB 4TB SSD Sequence is 2592 x 1080p anamorphic Footage is 5952 x 3968 anamorphic 10 bit HEVC 200mb/s LGOP shot on Panasonic S1H 48K 16bit Audio recorded on camera via external mics through Panasonic XLR adapter Workflow: With the sequence on the timeline I click 'transcribe' and after a few minutes the transcription appears and it is mostly random letters, formatted as though following alongwith the speakers, but meaningless. The first line of the transcript reads: "Er ikke ham, for man bør. Riksmålet Almaglid er ikke skål og stooore skoskap og." When I click on 'generate static transcript', the same line reads: "I come from a very small town. I feel like it's close to us. Close up. When Tom", which is about 90% accurate. Why would the same transcription be so different? In the video, the speaker is an elderly lady, whose first language is Spanish, but her English is perfectly clear and undertsandable, as demonstrated by the static transcript. Whereas the auto-transcript seems to think she is Danish (I'm guessing). Reproduction: As simple as described above - 1. press transcribe 2. wait for transcription, which is gobbledegook 3. press 'static transcription' 4. await result, which seems pretty darn good What should happen is I should get the same text for both transcriptions (ideally the accurate version for both!) What does happen is I get meaningless crap from one and good from the other, but at the cost of the text-based editing functionality. Thanks for your help!
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‎Nov 04, 2024
09:19 AM
At the moment the only effect applied is Transform in the project panel. The clip in question shows as expected in the timeline, until I apply a mask from the opacity settings in the effects control panel. At that point it just goes wierd, with an apparent crop occuring within the clip. If I delete the mask, the whole image reappears, uncropped.
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‎Nov 04, 2024
08:50 AM
Thanks, Neil. Can you confirm that the source panel also ignores any transform effect applied in the project panel? The second part of my original question is more confounding - I can cope with the source panel only showing original state, but once in the timeline, why would the opacity effects not adhere to the shape of footage there?
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‎Nov 04, 2024
08:19 AM
Here's the media info - 'Tree view' didn't fit on the screen, so I hope Text view suffices. It's ProresHQ shot in 3:2 full frame using Siuri 50mm anamorphic (1.6x squeeze), recorded on a Ninja V. I don't usually use the PP opacity tools, as I do all that sort of thing in AE normally. It seems that the opacity tools are only 'seeing' the original ratio. I'm stumped! Thanks for any help.  
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‎Nov 04, 2024
04:01 AM
Anamorphic footage desqueezed in the project panel (using 'Transform' effect) is showing as cropped 16:9 in the source panel, even though it shows correctly on a 2.4:1 timeline. Wierder still is that when I apply a mask to the anamorphic footage, the mask adhears to the squeezed portion of the image only - ie the 2.4:1 image is only masked where the 16:9 squeeze was and the desqueezed bits stick out!!! I have no idea what is going on, as it defies basic logic. Can anyone help???
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‎Nov 01, 2024
05:35 AM
2 Upvotes
The built-in anamorphic desqueeze options in Premiere do not include the increasingly common 1.6x squeeze factor and probably other, less common factors too. Please could we have the option of customisable desqueeze ratios in the 'modify/interpret footage/pixel aspect ratio' section, or at least 'Anamorphic 1.6'? This is particularly important when downscaling footage shot at, say, 6K on an HD timeline (something I do all the time), as resizing the clips twice makes the whole process WAY more complex and requires nesting and multiple timelines - what a bore!
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‎Jun 30, 2021
07:37 AM
Thanks, Mylenium. That does seem like the right approach to me too, but it makes me even more confused. The original image (png) is 300dpi, Illustrator is set to 'screen' resolution of 72dpi and AE is working in 72dpi too. So, my understanding is that the new path I draw (tracing the image from my artist) is 72dpi, as per Illustrator. I only ever use AI for this particular task (artist gives me images, which I trace in AI and animate in AE), so your input as to any other settings I can check to ensure DPI is correct, would be much appreciated! I've been following this workflow for several years now and not had this issue before - it may be the artist has changed something his end too. Thanks for any help! D
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‎Jun 30, 2021
02:21 AM
1 Upvote
I have traced a path on a PNG in Illustrator, then pasted the path into AE, over the same PNG (at 100%) scale, but the path comes through at roughly 25% scale. This happens with both simple copy and paste and using Overlord (which usually fixes everything). I am sure this is simple user error, but I just can't figure it out! This is an operation I undertake frequently, though I haven't for a few months and I wonder if there's a new update issue somewhere? If I turn the png into an AI file and use that in AE, it all matches. I just don't understand how AI changes the basic raster data without any saving prior to copying to AE. Can anyone help me out? Thanks, Dominic PS System is: MBP 16" 2.3GHz 8 core i9, 64GB RAM, 8GB 5500M Gfx (operating in clamshell to 3 screens) OSX Catalina 10.15.7 Adobe CC 2021 - fully updated All media on external Thunderbolt RAID
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‎Jun 21, 2021
08:41 AM
Well, that was quick and interesting - now I need to understand! I tried on the same timeline with the untouched AVCHD, straight out of the camera, and it worked perfectly, no lag at all when cut. Moving to a transcoded clip and the delay was ever present. Pop a transcoded landscape clip on the timeline and it worked as normal too. It seems that the transcode is the issue. My next test will have to be vertical footage recorded on my Ninja V (didn't use it on this job, due to logistics, but usually that is my source for all footage and never an issue of any sort). I suspect the lesson is that transcoded footage is only to be used when it's a lighter proxy and not as a full quality master. Thanks for helping me work and think through this! D
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‎Jun 21, 2021
08:30 AM
I will try it out, but anything native from the S1H is usually like treacle compared to ProRes (which is why I usually use Prores). I use the HQ flavour to retain as much data as possible. The pixels are square in both codecs. What is odd is that it only affects my timeline when the footage is in a vertical aspect. I'll report back.
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‎Jun 21, 2021
07:10 AM
Hi Richard, Sequence is set to 1080 x 1920 25fps - Prores HQ rec 709 Footage is Prores HQ 2160 x 4096 25p transcoded in Media Encoder from Panasonic S1H 400mbps i-frame Shot vertically, no footage rotation outside camera. The exact same setup in Landscape mode works perfectly. I'm working on 2 similar projects concurrently but one is for mobile social channels (hence vertical), whilst the other is for more traditional consumption. The Landscape project is smooth as butter. I surmise that there is a resource issue raised by the vertical footage, but wonder if there is a switch or setting within Premiere that might address this? If not, then it needs to be addressed as a feature request. Thanks for any advice!
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‎Jun 21, 2021
06:48 AM
When I make a cut to a clip shot in 9:16 format nothing happens for several seconds. Everything else seems to be ok, but this happens both with keystroke shortcut cutting and mouse clicking with the blade tool. I have cleared all my media cache and closed other apps, but to no avail. This only happens with vertical clips - landscape, square and 4:3 are fine. Is there any extra setting I may have missed to optimise for vertical video? As more clients want this godforsaken format, this is becoming a serious issue. Any advice much appreciated! Tools I'm using are: MBP 16" 2.3GHz 8-core i9, 64GB RAM Radeon 5500M GPU 8GB OSX 10.15.7 PP 15.2
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‎Nov 14, 2020
12:04 AM
This is a very simple thing to do if the filming was correctly set up. Here's the process: 1. The narrator should be filmed with a chroma screen (green screen probably best) behind them. The lighting of a chroma screen makes all the difference to a successful result or not (that is something that whoever does the filming will have to ensure). 2. The editor will have to remove the chroma screen by use of a 'keying' plugin within PP or After Effects. Keylight is the simplest, free plugin that comes bundled with AE - it's probably in PP too, but I only really do this sort of work in AE. There are many, many tutorials about how to get the best results with keying software, so have a glance at YouTube for more detail. 3. Animate the book. Set up each page of the story as you want them to appear in the timeline (ie each page on screen for the amount of time you want). Then, simply add a 'page turn' transition at every point where you want the page turn effect to appear. 4. Pop the footage of your narrator over the top. All done!
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‎Oct 27, 2020
08:31 AM
2 Upvotes
No question, just wondered if everyone else gets the annoying adverts for products we already pay for on Youtube all the time? The Photoshop advert is particularly irritating, but I have just spotted that the earworm they use as the music track is available on a stock library that is specifically not Adobe Stock. I stumbled across it ('Alumroot' by Isaac Joel) on Soundstripe, whilst browsing for my current job, whilst Adobe is trying to flog me stock music direct within Premiere!
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‎Oct 26, 2020
10:08 AM
3 Upvotes
Ditto exactly!
My setup has 2 monitors to work within and a third to monitor at full resolution. 'Delete/Clear' buttons not working, dragging anything in the Project panel not working. All fixed by switching to an Adobe preset workspace and then switching back to my custom workspace.
MacbookPro 16" 2019, 2.3GHz, 8 core i9, 64GB RAM, AMD 5500M 8GB, OSX 10.15.7 operating in closed clamshell mode with monitors attached via OWC Thunderbolt 3 Pro Dock and OWC Thunderbolt 3 Standard Dock
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‎Sep 04, 2020
08:02 AM
Yes, I think that's the way ahead. Thanks very much for taking the time. I think I will make a product suggestion that strokes have a customised end cap option, though. That would certainly be the best solution.
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‎Sep 04, 2020
06:55 AM
Can anyone help? I would like to adjust the end cap on my stroke when using 'trim paths' on a shape layer. The three built-in options are great for simple uses, but I really need to customise them for a current project. Or else, maybe someone could suggest a better technique? I am using trim paths on a shape layer to reveal the layer below, using a track matte. This is something that I do for the majority of my clients, so the basic technique is down pat. However, the current project is slightly different and requires, literally, broad brush strokes, to give the effect of rough paint layers being applied in wide strokes. The end cap options rather let the rest of the effect down. I have approximated a solution by applying 'roughen edges' to the shape layer and I could always add some distortion too, but it seems a shame not to be able to just adjust the cap itself and I would much rather not distort the original, client-supplied artwork. I am sure that After Effects can cope with this, but I really do need help in finding out how (I am no expressions wiz, but I am good at copy, paste and adjust). Thanks in advance for any help. Very best, Dominic
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‎Aug 22, 2020
05:37 AM
1 Upvote
I have given up on trying to correct the files in PP - it's such a big compromise it totally negates the point in RAW at all. My current workaround is to export the untouched files from FCPX into Prores HQ and use that in PP. That works, but obviously gives no RAW advantage whatsoever and requires an unwanted transcoding step. But, at least the video can be used. I looked at Assimilate to see if I could prepare the files in that, but it's unfathomably complex and seems to only export as image sequences. The good news is that it allows manipulation of both WB and ISO along with exposure, which means that when Adobe gets its act together, we should benefit from those basic RAW features too.
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‎Aug 21, 2020
01:20 PM
UPDATE! Turns out that ProRes RAW in PP IS incomplete and, for all practical purposes, still a beta function. The following thread is from the official beta-testers forum and it's clear this is a major issue for which a fix has been promised for several months in a row. It's a bit rubbish that there's no warning of this significant problem in the official release notes. Adobe can do much better by their customers. Here's the link: https://community.adobe.com/t5/premiere-pro-beta/discuss-prores-raw-support/m-p/11013854?page=3#M17
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‎Aug 21, 2020
01:10 PM
kens Thanks Neil, Yes, I'm fully aware of the Master Clip RAW controls and they are present on my Prores RAW clips. However, the clips themselves have been so altered on ingest into PP that they remain unusable. There is a significant gamma shift, that has no clear way of pulling back and lowering the exposure to allow acceptable highlights darkens the rest of the image so much as to lose any benefit of the RAW in the first place. The untreated file in FCPX is at its perfect starting point, with all scopes showing ideal exposure, skin tones etc and making adjustments is very easy. The identical file in PP, untreated in any way, is massively overexposed and incredibly hard to adjust appropriately. There is some fundamental flaw in this system.
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‎Aug 21, 2020
11:34 AM
I have just used Prores RAW on my Ninja V, with my Lumix S1H for the first time. The footage looks perfect on the Ninja and all the monitors suggest it is correctly exposed. Yet in Premiere it is totally over-exposed and looks ******g awful! It's as though the RAW Log settings have been ignored and a generic r709 LUT applied. The footage is irretrievable in Premiere, despite looking amazing on the Ninja. So, I imported it into FCPX, which I have but get angry with every time I open it because it just doesn't do what I want, but this time the same files which were unusable in PP are perfect in FCPX!!!! What the hell is going on? I can't find any explanation online and have rebooted, reloaded etc as many times as seems worthwhile. Can anyone help? Has Adobe announced and implemented Prores RAW 'support' as a joke only? I can't imagine this is deliberate, but I can't find enough information to conclude anything other than Prores RAW support on PP is still really only in beta. Any suggestions??? Thanks, Dominic PS Playback is flawless on my MBP 16".
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