For me it's fine, I even think it should be narrower. What you ask is perhaps to widen the action area that is different from what is visually represented. ... View more

thanks for the help but just the bitrate was off ... View more

By @Ann Bens Any way: my experience is once a feature has been taken out, it will never come back.   When I rewrote my software from Old  Windows to Windows 7+ I made sure all the old features were available, but in the new way. Some took a bit longer than others, so they were added a little later. Right now, I'm thinking this new UI method Adobe is working with, it maybe easier but not as flexible. Lighting up a simple text element in different colors seems so easy? Even the placement, at the head of the clip where it used to be, but now at the tail? Is that hard to accomplish? If so, I question the new UI method Adobe is using. Still this version is working well for me. ... View more

I'm working on a 4k hour-long project.  In the latest version (not beta): If I pick QuickTime ProRes 422 HQ as the preview format, render the entire timeline to it, then on the Export tab (stay in Premiere, don't lauch Media Encoder) pick Quicktime ProRes 422 and check "Use Previews", then touch no other options and export to a new file... it works as intended.  So while it's not a full return to the original functionality, it is acceptable. (I have other issues with the latest non-beta version, such as the colorspaces snapping between settings randomly in clips... but at least this is working which makes fine tuning bearable on a 4k project.) ... View more

My favorite part of this bug is that now the glitches are moving! The pixelation is now appearing in different parts of the clip where they did not appear before.   This is so clearly an Adobe issue and still with no fix. This does not occur across any other programs or use cases. Frustrating.   The workaround is to transcode to Prores, but that's not really appreciated file size-wise. ... View more

There are few scripts doing this. I recommend imgPaster, use it everyday.. It is NYOP script so pay what you want..  imgPaster - aescripts.com   ... View more

You can make a rectangle shape layer, delete the fill, add a stroke, make it taller than your comp, adjust the size width, and maybe set it as a guide layer. Then make it preset to reuse it. (Presets can’t save guide layer type though.)   I attached a preset, and its sample project, with some extra expressions to make it friendlier: https://we.tl/t-NA5WHMkGHD (Unfortunately this link expires in 7 days)     ... View more

I would also love to have a workaround... I started to make a script but couldn't bring it to work right. ... 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

Think about the camera on a tripod. X is horizontal, and Y is vertical. Rotating the vertical axis pans the camera left and right, and changing the horizontal angle tilts the camera up and down. Rotating on the Z axis would then rotate the camera on the lens axis. It's all normal.   It's the same with a 3D layer. There is no difference in the move. You are just thinking about the camera in the wrong way.   It's the same in Cinema 4D (and most other 3D apps). Blender flips the axis around, but there is an easy way to migrate camera settings from Blender to After Effects so the cameras match. ... View more

I'd still love to see this feature expanded to trim functionality ... View more

Thank you for adding back the option to switch between either pan or zoom on the trackpad! Works great on the Apple magic mouse. ... View more

Hello, I'm french so excuse my english please. There's something that I really don't understand with viewer gamma option. See images below, they show my premiere settings, also the program monitor (upper image) and the quicktime look after export (lower image). I've made 4 tests with the same shot, changing the viewer gamma and also the media color space setting. As you can see, when the "source clip" section is set to "use media color space", then "viewer gamma" 2.4 or 1.96 change the look of images inside premiere's display but does not affect the exported file. BUT, if for some reason we want to override media color space of the clip (here set to sRGB instead of rec709) then we get in the reverse situation : changing "viewer gamma" from 2.4 to 1.96 won't do anything in premiere display, but the exported files will be different. It seems like overriding color space of the media is applied after the gamma viewer correction, wich is very weird logic to me. Am I missing something ? Thanks ... View more

I'd like to add my voice here and second Shebbe's request - it would be much more helpful if ACES could be used on a per-comp basis rather than project wide. This mimics the legacy OpenIO plugin. As a motion designer, and speaking to others in my community, we face the issue that we are working on entire campaigns in After Effects - not just the 3D elements. Therefore it's very disruptive to have to implement ACES across 2D branding, and it's causing issues when collaborating with other designers and in-house teams used to the standard Adobe colour space. It would be amazing to be able to use the colour transform effects in the Adobe-managed colour space to achieve an ACES workflow, like the legacy OpenColorIO plugin. A hybrid workflow is far more beneficial to designers, who are generally not just working with purely CG elements. Thank you, hope to see this implemented!  ... View more

@netta_6403  For this style, cut out the subject and then create duplicates that are filled with a color, scaled up incrementally, and stacked behind the subject. To create what's shown in the sample image of the person wearing the overalls, use every other scaled Layer as a Matte for the Layer behind it. To create what's shown in the sample image of the person wearing glasses, alternate the fill color for every other scaled Layer.   Video that walks through the process:  https://f.io/mme7hPhd     - Warren ... View more

Thanks for re-opening the discussion on scroll-wheel behaviour. I feel the new global command to 'fit size' is great and is an overall improvement.   The change to scroll wheel now panning up and down however is not. I find no use for this, since panning using middle mouse button exists and feels more efficient and useful. I understand this is made in consideration to how trackpads perform, but ask yourselves this: are most of your users on trackpads (editing on the go) or are the majority probably (and preferably) working using a mouse. This change is a step backwards I believe for the majority of users.   For me the ideal behaviour would be to: - global zoom using default scroll-wheel - free pan using middle mouse button - modifier key + scroll to pan up/down or left/right - another modifier key + scroll to step through time frame-by-frame   The last I mentioned I believe is currently truly absent. I am aware you can navigate the mouse cursor the the time-indicator beneath the monitors and scroll there to step through frame-by-frame. That is however a complete waste of time and terribly inefficient when using the scroll wheel to help in the task of masking. When manually masking you want to be able to zoom in the monitor, pan it freely around and use a modifier key + scroll to jump frame-to-frame. You don't want to have to take the cursor away from the shape you are manipulating just to jump to a next or previous frame. Masking is one (if not the most) of the most important features that this scrolling function is made for. For me at least, it is actually almost the only reason why I am zooming in or out of the monitors. Improving the experience from this point of view would be most helpful! ... View more

This would be so helpful, especially if you're editing in chunks ... View more

This is nice. I can't believe it never occurred to me to request this. I open other people's projects all the time and am never comfortable in their workspace. Definitely a set and forget and I would say default to enabled. ... View more

The new FX badge is still annoying - especially clicking on it, inadvertently, when timeline is small invokes effects panel (so timeline loses focus, zoom keys stop working etc).   BUT    Listify is a great little extension from editing tools.io - including list of effects in timeline. It's the 'edit index' that PP should have natively   ... View more

Another usefull addition would be the option to turn off/on any of the RGBA Channel alone of the rest, or the ability to swap the channel info to other channel, like the Shuffle Node in Nuke.  ... View more

Broadcasters will benefit from explicit mappings that follow internal CICP flags (not OCIO).  Only some of this is functional after my testing. Upmapping should ultimately work like Premiere (and OCIO does not).  Also, be aware that the LUT Plug-in does not have matrix assignments for in/out so small hue shifts may occur until fixed. ... 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

Yeah Brendo, I had to do the same, I'm using 24.6.4 and its working fine. The problema is when I was using the 25.1 version it also chrashed my PC and I had to reinstall Windows, very weird. ... 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

Hey Adobe devs, any news from fixing this bug?   Could you guys please try to fix this ? It's been years since I try to make use of MOGRT sound design, but adding sound breaking responsive design makes the whole thing useless. Having to add sound effects manually makes the whole use case of MOGRT in Premiere much less useful. This complicates my workflow significantly. ... View more

Super annoying.  ... 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

Upvoted! ... View more