Given that Adobe still hasn't implemented this much needed feature, are folks finding any work arounds other than comping in After Effects? I'd love to hear how people are getting around this problem in the interim because my solution is a bit clunky.  ... View more

As designed doesn't necessarily mean it's the right thing for everyone who uses the tool!   I manage thousands of assets that are tied to an ID, so the PSD and the exports live in the same directory. Point being, the majority of my use-case is that I need to save JPGs alongside my PSDs.    For example – I have a folder that is /SomeProject/0012/ In that folder is my source file, usually /SomeProject/0012/0012-Source.jpg Then, I create my PSD, usually /SomeProject/0012/0012-Main.psd – it does this by default :white_heavy_check_mark: Then when I go to export my PSD to jpg, it takes me to the previous ID I was working in :  /SomeProject/0011/0012-Main.jpg Obviously, it is incredibly annoying for me to redirect to my most recent folder so that I can save the export to the right directory : /SomeProject/0012/0012-Main.jpg   That said, I ocassionaly dump to a global exports folder so the as-designed behavior is useful in that case : /SomeProject/GlobalExports/   Solution : an option that let's you switch from your app-wide most recent save location vs. your export most recent save location... such as this!   When adobe switched from "save for web" to "Export As", it added the following option in settings. Thank god.    ... View more

2024 :    ... View more

I was starting to think it was trackpad related, but the magnet solve worked. wild. thank you! ... View more

^^ This should be flagged as the right answer. Also, you don't necessarily need to switch from 8bpc to 16bpc. If you are working in 16bpc and make this switch, you'll see a speed boost as well. Worth mentioning that this preference doesn't seem to persist through updates to After Effects, even if you inherent settings from the previous version 🤦‍:female_sign: ... View more

dear god I can't believe I have to render massive sequences in After Effects because I can't add 2 pixels to a scale! It won't even let me do the math version of it! Where height is 100.0005% it just ignores the number 😞 ... View more

Crazy you can't move tracks around in 2024 and you have to manually copy and paste instead... silly ... View more

I'm trying out this solution. For those of you who can't find the download link to this codec pack. Here it is! ... View more

Same problem here. CC2024, Mac Os Sonoma.   @CShubertany updates with this issue? ... View more

White paper is correct ! After a deep dive over the last few days.    Here's the bit-depth information as I understand it.    A depth of 24-bits is equal to 8-bits per channel (R,G,B) 24/8=3 A depth of 48-bits is equal to 16-bits per channel (R,G,B). 48/3=16   Although your codec is only 10 or 12 bpc, I've found that over-sampling to 48 bits is better than up-sampling from 24 bits. Extremely marginal, but you can tell on a zoom-in. That said, if your content is made in an 8bpc space (or comes from an 8bpc source) and then over-samples to 48, it won't look any better.     In After Effects, for example - you want to work in 16bpc and then render in 10bpc - there is a marginal difference between selecting millions or trillions of colors here.    I did a series of tests comparing these things all using sRGB with a rec.709 monitor in After Effects. Sources were: Gradient content. Generated content. RAW video color corrected. There are more options to mess with in AE and it's easier to render a/b tests.    16bpc (aka 48bits) working space --> Depth (trillions) rendered --> 10bpc final codec always looks pretty good 16bpc working space --> Depth (millions) rendered --> 10bpc final codec usually looks good - sometimes more noise 8bpc (aka 24bits) -->Depth (millions) rendered --> 10bpc can look at little dirty in your gradients for sure.    Confusingly, you can work in 16bpc, set depth to trillions (equivalent of 16bpc), and set your codec or image sequence to 8bpc. I call this 16-->16-->8. This looks basically identical to 16-->16-->10 and 16-->8-->8 is not too far off either... ! For most things, the most critical piece of the puzzle is the working space IMHO.  ... View more

I've really been trying to figure this out for a while and your post here, I think clarifies.    In After Effects, I work in 16bpc.  My delivery codec is almost always 4:2:2, which is 10bpc.  If I don't select "trillions of colors" in my output module, then I get banding in gradients (because millions of colors is effectively 8pc)   In other words I need to oversample to 16bpc, which is then intepretted down to 10bpc. 🤯 ... View more

I am confused about the same thing!  ... View more

thanks Kevin ! this solved this one for me, too ... View more

dude why is this option gone. so silly.  ... View more

1 year later after I last checked, 2.5 years after the status was planned, still no change in status? this comes up all the time. sometimes I end up doing my comp work in After Effects because it's just better at it. 😞  ... View more

Hi John - here's a link This has been an issue for me for years. Several systems.  Have encountered with Trackpads + Mice.  Currently working on an M1 Max / 64GB Ram  ... View more

FWiW - I captured everything in FCPX, then I confirmed frame rate to deal with dropped frames in AME. Then brought the files into Premiere for the edit. Mission accomplished.  ... View more

As usual - Great call, Rick.   I do use Mocha when my masking gets particularly complex but never put two and two together that I could use it for simple masks, too. Usually too lazy to coordinate with Mocha unless it's absolutely necessary. But now I've printed to memory - even for static masks you have that zoom level that you need, if you need it, in Mocha.   That said, clone stamping is still an issue. I know I can export frames to PSDs and do it in there. This will give me zoom to pixel. BUT I find going back and forth through frames is essential for a good stamp technique. Possible but not as quick or as easy to do in photoshop.   Any ideas on that one?  ... View more

Love that I just searched for this... again and this is still the top post! Woof. This is particularly annoying when doing stamp work. Haven't found a work around that solves for this issue. Bummmmmmer.  ... View more

Touch is short for "TouchDesigner" which is a program where folks use HAP files. Ditto for Mad, which is short for "MadMapper."   These are both "Creative Technology" and playback applications used for things like museum exhbitions, live shows, interactive integration (eg sensors), performances, and other complex AV installations.  ... View more

Way back in 2019, Adobe removed the ability to flag and rate images in a shared album in order to "support forthcoming improvements in sharing and collaboration."   Not knowing this because: why would I, I just stupidly handed off an album to my photo editor colleague, thinking it would be a fast way for us to collaborate on post production - and he can't see my flags or ratings.    Here we are, four years later and it's still not possible to flag or rate images in a shared album in Lightroom.   I'm curious about the logic here. Ideally there's a way to collaborate on a project where someone else has permission to FLAG or RATE.     Here are some posts asking for the same things: https://community.adobe.com/t5/lightroom-ecosystem-cloud-based-ideas/p-make-all-contributors-able-to-pick-flag-images/idi-p/12972572   https://community.adobe.com/t5/lightroom-ecosystem-cloud-based-discussions/lightroom-cloud-based-not-classic-shared-album-invitee-can-t-rate-photos/m-p/12355456   https://community.adobe.com/t5/lightroom-classic-discussions/star-rating-in-shared-albums/m-p/13097134   https://community.adobe.com/t5/lightroom-ecosystem-cloud-based-ideas/p-enable-the-pick-reject-flag-star-rating-amp-tag-function-for-albums-shared-w-collaborators/idi-p/12342112   https://community.adobe.com/t5/lightroom-ecosystem-cloud-based-discussions/shared-albums-on-lightroom-cc-not-allowing-flags-or-stars/m-p/13110763   https://community.adobe.com/t5/lightroom-classic-ideas/p-star-rate-images-in-shared-albums/idi-p/13096880   https://community.adobe.com/t5/lightroom-ecosystem-cloud-based-discussions/album-sharing-issues/m-p/12405270 ... View more

2023 UPDATE   You can transcode HAP via FFMPEG – this is probably the fastest HAP renderer. You can do this on a Mac or PC. Pay attention to CHUNK count. Export from AE/PR whatever is a lightly compressed or uncompressed codec before sending to FFMPEG. There's a learning curve attached to this process, but just write down what you learn so you don't forget :). That said: HAP's encoding can be pretty rough on gradients and causes some gnarly banding. FFMPEG is free.    You can still encode directly to HAP in AE/AME/PR by using "After Codecs" – this is a paid plugin from Aescripts. It's pretty good! But I do not recommend rendering directly from sequence(s) to HAP. Faster to encode as some other intermediary first. I have not tested After Codecs for QC recently, but am willing to bet it has similar banding issues (regardless of Hap or HapQ preference)   There's a new third party encoder that I've been using that I like by this dude Jokyo based in France. It's paid. And it costs too much to be honest. And it's locked to a computer which is incredibly annoying if you're moving from machine to machine a lot. You can buy their codecs so you can render using AE/PR/AME or you can buy his stand alone. The stand alone costs more but seems to be more efficient than using AME. I bought the stand alone version and have to admit that it does an incredible job encoding and introduces next level HAP that we so desperately need. Named HAPR, it is a much better looking encode. So far, have tested in Touch and Mad. Touch plays this new version. Mad does not. If you have the dough, this is the path I recommend. His version of HAPQ Slow is only slightly below HAPR imho and it looks nearly as good (much better than FFPMEG and After Codec's HAPQ). Jokyo's HAPQ play in Touch and Mad.    Also here's a pro-tip: Pay attention to chunk count!  ... View more

For those trying to figure this out in 2023.   In Premiere I'm rec.709 for interepretting footage (this was default with the footage I brought in):   In After Effects I'm 2.4 rec.709 for project settings.    I've also interpretted footage in AE to Override Media Color Space to Working Color Space Rec.709 2.4 - this is the last crucial step:   Now it is matched!   Fun to do this manually for every single clip... wouldn't it be great if AE's default color intrepretation matched Premiere's? What is the logic in having two different fixed defaults?    Woof.  ... View more

hey everybody - took me a while to figure this out but there's a pretty good work around that will prevent auto-eject. instead of selecting the SD or CF or whatever card in the drop down, browse to the image file path and select the folder to review for import. you can also filter your results here because it's finder. E.g. I never import videos into lightroom because all of my video files are 422 and huge. using the browse method, I can filter out the video files. I also like to avoid wiping my SDs unless it's job specific or if it's full. this should keep performance up, marginally, over the lifetime of a card. The browse method allows me to sort by date so I'm not doubly importing. While using this technique doesn't fix the auto-eject feature, you can effect select the SD manually and it will not auto eject. hope this is helpful for those of you who haven't figured this out yet! ... View more

Not able to Capture even though I have transport controls. I can see things on the camera, but black screen on the computer.    Capture does work in iMovie and FCPX on M1.  ... View more