Sorry no, this sounds like a different issue. I actually have the same issue with Photoshop even if I choose "open with" on Windows and select Photoshop non-beta it opens the beta instead. Too lazy to make a new post about it but that's probably the best thing to do in your case. ... View more

Hello devs,   Are there any plans for improving the zoom? It's still unusable via the zoom tool because it is not smooth. The biggest problem is that the axis of zoom in/out detection feels to be sort of at a 45 degree angle instead of horizontal or vertical. You can see in my video example the redicolous difference in stability between AE zoom and Mocha plugin zoom. I would expect the quality to be on par. ... View more

Hey there,   I believe what you may be experiencing is video and full levels mismatches. I forgot the exact details on where which goes wrong but Resolve definitely has issues. Inside Resolve you can actually correct any mismatches by going into the clip attributes and setting it to Video or Full instead of Auto. Adobe will only detect from file and scale accordingly, the user does not have any control over interpretation. When you write APR444 from Adobe I believe it always writes Video levels eventhough the expected formatting for writing RGB instead of YUV is full levels.   Anyways, try a manual export out of Mac Resolve and Windows Resolve with data levels set to Full and another to Video and see what happens in both Premier and Resole on both Mac and Win to see where it goes wrong. ... View more

Love these ideas. ... View more

I don't think it's a good idea to just copy other software and I don't think Premiere needs a node based workflow. But I do agree that a good move forward would be to step away from Lumetri's forced operation order and here's the whole set of controls in a single effect style. Many basic math operators aren't even available in Lumetri and some of it's controls actually change in math depending on your colormanagement settings.   A new workspace/UI where you can have some form of layer based color grading with advanced masking and tracking that all still lives inside a single effect rather than real layers in your timeline could be a possiblity. ... View more

Hey Fergus,   Thanks for chiming in. I have to say, normally all our projects are graded outside of Premiere for plenty reasons but coincidentally, last Friday we actually had a mega quick turnaround project to deal with where the typical roundtrip session would take up way too much time. (perhaps not if Premiere ever gets robust conform tools? :)) But anyway, the decision was made to do basic grading in Premiere. It was a mix of DJI / Sony log and 709 phone footage. I used the Direct 709 workflow already present in 25.1 which worked well enough for the most part since exposure sliders are available as a pre DRT trim. Then used lumetri for basic contrast leveling and a bit of a lut on top.   It's exactly projects like this that would be sweet if you can work in ACEScct because that allows you to do all your effects still before display conversion. Especially addressing white balance issues is near impossible to fix accurately on display referred image states. We had a lot of unbalanced shots for the project as it was reality/quick shooting.   Will look forward to continued efforts in improving managment and grading tools. I would love to be able to confidently say that some projects can be mastered within Premiere because if the math is right, there is no difference in quality really. Being able to stay in Premiere for some projects can save much time. ... View more

I think this is really an issue that Adobe should address.   Due to other silly reasons we are forced to edit 9x16 videos in a 16x9 equivalent because otherwise we don't have a proper clean feed to external monitor for creative/client sessions. When we prep for final online and export we swap back to the real 1080x1920 resolution to make sure things are absolute, which for the most part works okay but slight shifts are still observed here and there.   There is something not properly structured in the way Premiere's coördinate system works. If you change a composition's resolution in After Effects you do not suffer from these shifts at all.   Additionally Premiere could really use much needed advanced control over object behavior like persistent dynamic aligning of a clip to x% or x-px top-left or bottom or other smart alignments of the canvas. As a result when changing the sequence resolution these elements would stick to their relative defined positions. This would greatly reduce manual labor and the need for pre-made designs in multiple ratios. ... View more

Hey @kazuyaf88705976 , Perhaps because you're a new user but we don't see any images in the post. Could you try sharing them again?   Furthermore, did you bring the prores file back into Premiere Pro to compare? Or were you using an external video player. Also to help the developers reading this thread better understand the issue could you share your system info and Premiere Pro version?   Is the problem only present when exporting to ProRes 4444? Or is it in ProRes 422 flavors as well. What about other formats like H.264/5.   Lastly, what happens if you grab a still frame of a Canon MXF clip, put it back in the timeline and export that to ProRes in both Premiere and Resolve. Does that present the same data? This could help track down where the issue happens further. ... View more

Hey Alexis,   I appreciate you explaining the move behind it and the plans of continuing development around this topic. But I can't help but be concerned about it. Many times features are released and then left as is. Even if improvements are made, depending on the differences between the 'fixed mechanism' and the legacy 'broken state' present high chances of forcing backwards compatiblity to such states for sake of peoples projects not breaking.   It would've been more efficient to keep things that aren't fully finished out of the way until then. I wouldn't have minded at all if the improved colormanagement features would've been released without 'wide gamut tone mapped' ACEScct working space yet. ... View more

Hey Adobe,   So after radio silence followed up by the release of 25.2  almost none of the issues I repeatedly mentioned have been adressed...   Is this your solution to the obvious problem? If you need to add a client logo it needs to be spot on accurate not "close enough". The only workaround is to nest the scene referred data but with more complex edits this is impossible and just not desirable overall to always deal with nested edits as it f*cks your timeline versioning if the actual edits aren't existing in the output timeline.   DRT inverses are not something new, this could've been on the radar before even starting the implementation of this. If the existing DRTs aren't written well enough that an inverse is possible an alternative DRT should've been made. If that's not the goal then why still add this?   Nobody is going to benefit from this until it's properly addressed. ... View more

A welcome feature to those that need it.   I don't think I've ever had to hunt folders or remember the location. It's already pretty clear in several places like the window bar or on the home screen mouse-over tooltip. 🙂     ... View more

The ideal setup would be that media/diskcache has it's own drive so it never has to interfere with read or write speeds of the disk where data is read and written to.    It is also best to have a very fast disk for cache. What kind of SSD are you talking about. SATA or NVMe? And how is it connecting to the Macbook?   If you have plenty of internal storage it would be best to reserve a bit of that for cache because that's definitely fast. I would split the drive in two partitions that have their own disk size so you always know how much you have for normal data on your machine and prevent filling up the entire drive.   Depending on the kind of media you work with I'd say about 300GB for cache is enough so that could be set as limit inside AE prefs. But how much you want to allocate may depend on how much you can spare on your macbook. ... View more

Sounds great.   Regarding the range issues, I'll just sneak in this old feature request I once posted that Premiere could highly benefit from. With the upcoming color management finally opening up and maturing a bit, bringing data range management to users for project media and exports is also an aspect that could recieve much needed love. ... View more

I also dislike the " Copy" suffix on duplication but in our workflow we also rarely deal with it. There are two 'workarounds' I know of that you can use.   You can do a copy into a paste command which will duplicate your sequence without any name change at all. Just requires 2 shortcuts instead of 1...   What we do for editing however is never have any old sequence version at all present in the offline/online edit folders. We always move them immedeatly to an __OLD folder. You can CTLR/CMD drag a sequence to some other place and it will also make a non-renamed copy of it. So whenever we start the day with new version we copy drag the current ones to __OLD and rename the now 'new' current ones to the new version. It works especially well because it allows you to keep your sequences opened rather than having to open your newly created onens which you sometimes accidentally forget and work in an old version instead. ... View more

Scenes like this involve many different diciplines all comprised of talented artists that have been working in their field for many years already. To make anything similar as a single person is highly ambitious in regards to time, skill and hardware requirement even if you'd have access to any software you'd like.   As a total beginner a good start is to get familiar with what these diciplines are and then focus in on the ones that speak most to you. The kind of software and/or hardware you need will follow from there. ... View more

Ah! File / name duplication may have been the culprit. I removed all .ffx files that i created everywhere and remade it with a different name. It works flawlessly now :). That's not easy to spot. Thanks a lot for your help! ... View more

Thanks @Dan Ebberts , This I got working, but the .ffx file I save is not working when opening in the beta probably because that version does not have the same PresetEffects.xml file. AFAIK there is a way to work around that so you can share the .ffx file with others which is what I'm trying to achieve. Do you happen to know how? Unless it was supposed to work regardless... here's my code and the error I get in beta AE. (same error as I'd get by removing the code in main install from PresetEffects.xml)     ... View more

If you have middle click bound to a side button on your pen you can pan/scroll these panels with that instead of clicking on the scrollbars. Middle click scrolling can be initiated from anywhere on the panel so you don't need to be that precise. The only downside is it isn't as fast as normal scrolling so not the most practical for longer distances. ... View more

Yea mathematical alignement may not always be exactly what you want, but expressions can also look at frames past your animation so you could do the calculation based on the object's bounding box after the type on has happened. We use this very often because we need to make templateable text animations that still need to align well regardless of the amount of text. The other case you mention is likely also achieveable via expressions. But I understand that this isn't always practical if the intent is only a single fixed design that doesn't need to automatically adapt to anything. ... View more

An interesting idea for guides to make them mirror.   I occasionally find myself trying to align things an equal distance from the edge of a comp. Isn't what you're saying essentially the same as centering an object? This could be achieved with the align panel as well and even could be set up to be dynamically adjusted if using expressions instead. ... View more

@jgjerde interesting, thanks! Maybe you do not have an answer to this but I would wonder what motivated the choice of halving the range. Wouldn't subtracting 1 value from 65536 achieve the same for sake of having a middle value? ... View more

@jgjerde I understand that "it's 32768" but that doesn't really answer my question? The link you provided only states the following: "16-bpc pixels can have values for each color channel from 0 (black) to 32,768 (pure, saturated color)" But that claim is actually false? 16bit should have a range of 0-65535? ... View more

@Amir Stone ah no worries! @jgjerde sorry but could you please explain more also for future reference... Amir's claim was that it is 32768 because the full 16bit range is shifted to "-32768 -> 32768". Is that still true? Or is it a reduced/remapped representation of full range to 0 to 32768 for sake of having a mid point? Does it affect precision in any way? Or is it only the numbers we see in the information?   My intuition tells me that because the range of the levels effect only present half of the total possible values you can only manipulate those values in that level of precision, at least regarding that particular effect.   Again fully aware that the likeliness of this being an issue in real world projects is super small but I'd like to have solid information when teaching others about bit depths and how it is used in AE. ... View more

@jgjerde I also spotted that nuance in the max value. It sort of feels like a hack to me. Is this mechanism in place only for that purpose? It theoretically means that precision is reduced to 15bit for the readout on the info panel and the levels effect? I know it probably won't affect anyone in real world projects but I find it very weird that it works this way 🙂 Do you have any thoughts on implementing a 16b float option in AE? ... View more