I think it's an insteresting idea, but Photoshop's expected workflow is a bit different. A photoshop file holds all the data embedded inside the file itself. Any clipboard pasted data becomes rasterized data in uncompressed fashion. For a single image file this isn't that bad, but AE's project file is ideally only referencing to other files and should only hold further information about what operations were done in the project. If actual image data is also stored in that file the whole ideology kinda breaks imo. Users will never expect image data to not exist on disk as a separate file when working with After Effects. And depending on what you store, the .aep file could get really large. What could work perhaps is a mechanism that allows clipboard pasting but in a process that would also save the file to disk into a folder that could be specified per project. Such system would allow you to define in what file format and bit depth to save. But even this is not ideal imo. It removes the process of naming the image making it's content/intent ambigous unless viewed in context. ... View more

As a general note, there is no 'traditional' standard when it comes to 3D behavior and XYZ order. Some software use Z as up, others Y. There can also be differences in rotation order and some software allow you to define/change this. I belive the reason why you are confused in this particular instance is the expectation that you are viewing (through) a camera, but what the rotation control is really doing is rotating the object itself. It's not a POV camera like in a video game for example where y axis of a game controller would indeed relate to the camera looking/rotating up and down.   It's best visualized if you look at the camera in a custom view in 3D and look at the gizmo while it's selected. You are virtually grabbing the red X axis and twisting it with your hand causing it to rotate 'up/down' respectively.   Hope that makes sense. ... View more

Win 11 23H2 I believe my OS scroll settings are default. But they are: Roll the mouse wheel to scroll -> multiple lines Lines to scroll at a time -> Slider set to value of 3   My Wacom Pen is also set to mouse scroll with speed set to the fastest option.   For both cases I need to scroll roughly three times to get to a comfortable zoom level coming from a "Fit" zoom distance. ... View more

Your suggestion to lock zoom to whichever axis is used first could work even better than my ideas! I also agree that the preference sections feel unintuitive. I had to go back to this thread to find where the zoom settings were placed when first trying it. ... View more

So AE beta published their implementation of smooth zoom. What instantly jumps out is that they offer user preference to a degree. I hope you take note and provide comparable options. ... View more

This is great! The additional preferences are incredibly welcome. I really hope this is being passed on to the Premiere team because their current implementation is not quite there.   I have 2 points of feedback.   1. Using the zoom tool (Z) is very jumpy. If you compare it with Mocha's zoom behavior for example this is a huge difference. This is likely due to the mouse move range required to zoom in/out is too sensitive in AE's implementation. It also feels like Mocha uses a method based on distance from origin point where you started zooming rather than what feels to be a constant rate regardless of where you start or end. Another contributing factor is perhaps the fact that 'multi-axis' zooming is allowed. These changes become too sensitive for human hand and mouse / pen accuracy causing constant jumps from detecting zoom intent as zoom out or in. Moving the mouse at a certain angle precisely on that threshold causes sever jumps in and out. I think locking to horizontal or vertical only solves this. Perhaps also paired with a user option to choose the direction.   Regardless, I hope this zoom method can be made much smoother.   2. The default speed for scroll zooming feels way too slow. Having it sit more between it's current speed and the SHIFT speed would feel more appropriate imo. ... View more

@Rocketbottle , sorry, I'm not aware of any one stop shop video or site that covers everything for AE context. OCIO itself is not AE specific though and neither is ACES so I would encourage you to look up these topics in a broader way. I found the following links to be of great resource learning about color management and scene-referred workflows.   Christophe Brejon's website Filmlight's Color Management talk by Daniele Siragusano ACES Central forum where people are happy to help with any question including the folks behind ACES.     @dsol21 , did you encounter a scenario where this is the case? Log spaces are used often in compositing and grading, cameras also encode to 10 or 12bit integer log files so working in 16bit log should not really degrade the image unless 8bit effects are in the chain or you have some really extreme synthetic values in the source? I do agree tho regardless, we really need an upgraded Add Grain that can provide grain in linear context. ... View more

This is a great little step forward.   - I found a quirk in using effects on the environment map layer. Applying exposure or other effects like VR Rotate Sphere doesn't affect the rendering of the 3d objects in the scene. It does not reflect these changes to a solid rendering the 3d scene to 2d with CC Composite either. Referencing an environment map via a Composition instead does reflect these changes in the 3d scene but still not on the copy made by the 2d solid. Note: I mean effects applied directly on the layer, not inside the composition.   The expected/ideal working would be that it always reads with effects for both 3d and 2d with any reference (exr, hdr, comp, other media) or it doesn't, but add a user option to do so just like we have with generic referencing of layers to include effects / masks.   - In general the Advanced 3D workflow feels really awkward imo. I get the desire to make things 'simple' in 8/16bit int display referred context, but we really need an option to disable the 3d renderer's internal tone mapper for 32bit (linear) workflows. Doing it in hybrid context is super messy. Especially using the renderer in conjunction with OCIO is far from ideal. If Premiere's improved color management is going to make it to After Effects you inevitably stumble upon the same problem. ... View more

@Rocketbottle , When using OCIO project management there is no need to use the color profile converter, it's rather counter intuitive to the toolset expected to be used in an OCIO based project. It would be better to use OCIO ColorSpaceTransform and convert from the working space ACEScg to ACEScct -> add grain -> convert back. There is also no need to set the working space in the project to ACES2065-1, in fact this should never be used as a working space. It is not how ACES is intended to work and neither is it a practical space to work in. It is and should only be used as 'ACES compliant' file interchange and archiving format. ... View more

There have been many topics about this already in the past. Best to add your vote and comment there. Here is the biggest one: https://community.adobe.com/t5/after-effects-ideas/update-the-add-grain-effect-to-use-gpu-and-32-bit/idi-p/13229533 ... View more

The announcement was not about appearance in After Effects but rather that the Dynamic Link clip would be treated the same and remain managed in Premiere. The color management in After Effects is still the old one which does not have tone mapping hence the 'blown highlights'. There are many ways to tackle or work around this. One could be to disable AE's simulated output (a very stupid way of saying the working space is being converted to display space) which you can do in the viewer. Then add a LUT on a guide layer that converts SLog3 to 709. You could use the 'official' conversion from Sony. It's not the same image of course but for compositing theoretically you only need a viewing reference. Another option is to use OCIO ACES instead but I forgot if that would still propagate correctly back to Premiere. Not at a machine right now to check. FWIW I wouldn't run any actual productions yet with the current beta, lots of issues still especially with ACEScct management. And it'll probably take a while before AE gets the same kind of management implemented. ... View more

How do we make it clear when the user is manipulating the viewport, and not the underlying clip?  I believe this poor user has been navigating around the viewport, thinking they are reframing the clips in their sequence: https://community.adobe.com/t5/premiere-pro-beta-discussions/i-need-help-stopping-adobe-premiere-pro-beta-from-reframing-my-images-and-video/td-p/15149777 By @Mike McCarthy That's both hilarious and sad. I feel that the primary reason enabling this behavior is the absence of visual indication if your program monitor is zoomed in or not separate from the value. There is always a seemingly easy and sensible solution to the many UI/UX problems Adobe faces but the least optimal solution is taken every time imo.     ... View more

I'm talking about specifically the "Zoom Program Monitor to Fit". The shortcut is not bound to anything else. I was using [SHIFT]+[/]. (AE habbit) Not much else to tell about it. It just works when any panel is in focus except for the Program Monitor itself. It looks like MyerPj also encountered the same issue so should be easy to replicate. ... View more

Thanks @Palash Sanjay Kotgirwar ,   - I agree that the software should offer varying usable configurations per pointer device. And trackpads or Apple Magic Mice should not be considered more important than 'normal' mice or tablets. Most professionals use the latter two.   - I'm sure you've read my initial suggestions but I 'd ask again for consideration of keyboard modifiers that you hold down to perform zoom and panning with only left-click. This could serve as an additional alternative to whatever middle click or scroll behaviors end up being, and makes pan/zoom completely pointer device and scroll sensitivity agnostic. (Take Mocha Pro's method for example).   -I would prefer a rollback of this current implementation until this feature is improved. ... View more

Not sure how to exactly replicate the entire thing but I think the best approach is to create copies of the source matte on a solid with Set Matte. On that solid you can perform some operations like Turbulent Displace to animatie in a wobbly way and Simple Choker to make the matte more blobby 'low res' than the actual matte. Then for that copy you could animate the scale on a Transform effect (so the matte stays high res). Copy the entire layer and offset it in time to make it subtract the previous and repeat for subsequent. For each layer you could slightly tweak settings to make every repetition look unique.   The plus side of managing a sort of procedural approach is that if now the matte of your subject changes, maybe another person, the output still works. But the problem is that scaling a shape is not exactly the same thing as expanding a shape outwards in all directions from it's center. so you get unwanted thickness interuptions like in my example if the shape is complex. Perhaps it's doable for your usecase.   The alternative would be like Derek suggested to pre-design them. Doesn't neccesarily need to be Illustrator, you could technically draw the shapes in AE too. This would give perfect control but you'd have to create all the shape repeats individually and animate them which is timeconsuming. Especially if you need to apply the same effect on multiple shots.   Perhaps there are much more performant ways to go about it but I'm not the most clever motion designer out here:) ... View more

I got a few replies from my team, they want the change but weren't very decisive on my removal point:)   ... View more

Thanks a million for making the Zoom to Fit command global. This drastically speeds up the workflow.   bug: The global shortcut seems to not work when the Program Monitor is actually in focus. But works when any other panel is focussed.   Feedback: I agree with previous comments. I think the scroll only vertical behavior could be completely removed. Don't see the point of it's existence. I rather have that behave as Zoom to cursor or center or user configurable between those two instead.   QoL: I think in general Premiere could still use a modifier that would allow panning without the use of middle-click. I personally use the side buttons of my tablet pen for Right-Click and Scroll rather than middle-click. In AE/PS this is fine because we can pan using spacebar.   My ideal approach would be to allow for Left-Click only operations so you never have to worry about scroll behavior acting weird depending on OS or hardware device, or lack of middle-click functionality. The best example ofthis would be BorisFX' Mocha where you zoom by holding down Z and left-click drag and pan in the same way but with X held down. For Premiere Pro this could be CTRL/CMD+Left-Click drag to zoom to pointer, CTRL/CMD+Shift+Left-Click drag to pan, CTRL+ALT+LeftClick drag to zoom to center.   Another reason to allow mouse dragging for zoom is that it is much more precise than the scrolling behavior and speed. Especially on a mouse you can only scroll a tiny bit per hand gesture, forcing you to scroll like 6 times to zoom in to a portion of the image versus just a single mouse drag to get up close immediately.   Hope to see some changes like this. ... View more

Hey dev team, It's been a while since we've seen any updates around this feature set. Wondering if anything is to be expected soon. A lot of the issues I've once mentioned seem to be still in place. Here's another quick summary of the things I observed.   - The kink in the tone mapping of ACEScct to display.   - Lumetri Curves in ACEScct have undesireable effects when messing with start and end point of the curve. (Lift/Gain) Probably because the curves tool uses clamping internally and the range is not aligned to ACEScct black and 'white'.   - Film Dissolve used to become yellow in the highlights. Looks like this is fixed!  Another more general issue with Film Dissolve I spotted is that the transition curve seems weird. As if the first/last frame in the transition has a value of 10% already compared to a smoother fade start/end seen in Cross Dissolve. You can really see the B image jump into view instead of fade.   - Dip to Black does not map to the working space black point in ACEScct causing negative values at the bottom end. Should be aligned when using 'Color Space Aware'. Even better would be internal conversion to linear for exposure style fade to black!   - Several combinations of Direct/ACEScct per channel or other DRT settings map to higher than display brightness. Not sure if this is intentional. (Seen in Lumetri Scopes but verified with EXR export to AE.)(Maybe time for a color info panel in PR?;))   - No inverse DRT for 'roundtripping' display referred image data for ACEScct workflows making use of sRGB/Rec.709 images in such a workflow impossible.   - S_OCIO_Transform and fnord OpenColorIO plugins still break the image when used in Direct SDR and are redicolously slow in Direct SDR and ACEScct. Image seemed to not break anymore in ACEScct though.   - EXR color management support is missing. We can disable the auto linear conversion in source settings but cannot convert ACES2065-1 or ACEScg to the working or display space.   I really hope many if not all of the above are adressed before we see a release. ... View more

Has it ever worked? I thought all program monitor related shortcuts need panel focus. I wish Premiere Pro would use a more modern approach to shortcuts where they would function based on mouse position. It means that functions like zoom to fit could be generalized to a single keyboard shortcut for Source- and Program monitor but also your timeline panel. ... View more

Wow, about time! Very happy to see this. I consider it a set and forget and would prefer it to be enabled by default. If I'm being real honest I don't think it should even be an option to have the old behavior. Choice is good, but I wonder if anyone was actually happy with it working that way? ... View more

Just to double check, are you actually trying to export a new HDR video again for delivering to an HDR supported platform for viewing in HDR on a capable device? Seems like a silly question but often gets overlooked or misunderstood.   AE should be capable of exporting HDR files natively. Make sure you're using Adobe Color Managed with Rec.2100 PQ as the working color space. When exporting to AME make sure that in AME you use the same settings as in Premiere. Using the settings that came from AE initially will not be correct as they are way too limited. They are only practical for typical Rec.709 workflows. ... View more

Good idea. I'd like to share some thoughts and experiences.   - filmscans, especiallly 8 and 16mm will have a lot of grain. For image critical work it's probably not always ideal to use frame interpolation.   - smearing at cuts/scene changes is unavoidable in any method of generative frame interpolation. You have to work around that by giving it footage that does not have any cuts to other shots. A solution could be nesting separate cuts if you have multiple in a single file.   - Optical Flow as an algorithm can sometimes work well but the technique is flawed and can never improve much. If the scene has fast movement or large amount of complexity you are guaranteed to get image artifacts.   - The next best step is AI based upsampling. I would welcome a new AI based model that can superseed Optical Flow as a native option in Premiere Pro. We use BorisFX's RetimeML tool wich has worked great for many shots so far but the nature of it being an effect makes it clunky to work with inside Premiere over it's regular speed/retime tools. ... View more

I'm not fully sure. To be honest I never deliver HDR formats myself so don't have direct best practices. Perhaps the level needed to be 5.1 instead of 4.1? Or try again without the Include HDR metadata checked. If it still doesn't work maybe try H265 instead of H264. It could also be the video player itself, I believe you're trying to open in in Media Player on Windows? You could try open it in VLC player, a free media player that reads many more formats. Hope that helps. [edit] oh and btw, you should also check Use Maximum Render Quality and Maximum Depth in the settings to make sure it is actually encoding in 10bits instead of 8bits. ... View more

Hey Mitch, Ok, what is the display you're viewing it on? What is the display set to as it's profile? And what do you intend to do with the HDR video once exported? Not all distibution platforms support HDR.   To make an HDR deliverable the best option would be HDR10 since HLG (how your iPhone recorded it) is not well supported. In your timeline go to the menu Window -> Lumetri Color and switch to the tab Settings at the top. Apply the following settings there. In your export settings try the following (click More in the basic video settings section):   You should now have an HDR video file that an HDR display can play back. ... View more

Hi, It looks like you've shot in HDR on your iPhone. While Premiere Pro does offer HDR color workflows and delivery, it is good to ask if this is what you actually want? And if so where you also planning to view the videos on an HDR display? If not then you need to make some changes to your setup to prepare it better for SDR.   If you actually wanted HDR you will have to change your export settings to a format that supports it.   Let me know which is true and I can explain further. ... View more

I'm not familiar with Trapcode but generally, ideally all 3D data for a single shot is happening inside a single composition so the data is always the same. Perhaps it is possible to create 3d nulls for the positions from that model you want particles to emit from and use those instead? That would eliminate the scale translation over to the 3d world that 'lives on it's own'. ... View more

I believe it doesn't exist by default, but you can map "Reveal Sequence in Project" to a keyboard shortcut. ... View more