My ongoing list of wishes and wants along my journey from the APPLE FCP world to ADOBE… Some are previous off the old list and some all news ones as well… Although I do dig the company ADOBE and their handling of the Pro Community… I regretfully still do not yet feel I totally dig editing with Premiere CC…







STILL NO FIND/SEARCH IN TIMELINE - It’s how we can search for actual common/similar named interview clips to paste effects/corrections into for an entire timeline for instance, FIND LABEL in timeline would be cool in addition name searches. The woes of finishing/reporting the end of a show using FCP 7’s FIND IN TIMELINE for instance is easily managed with creative searching/finding stock footage for instance and this makes it jump ahead of Premiere Pro CC as a tool of choice for a whole series/show even for just pasting effects like CC into like named clips in timeline.

@philiphodgetts reminds me that Sequence Clip Reporter can help with this (and I USE SEQUENCE CLIP REPORTER and have for years) it helps with reporting music and stock footage for production wrap but isn’t an editing substitute for FIND IN TIMELINE when searching for cross fades to delete, effects to paste to like clips or even making dreaded EDL’s but like all the Intelligent Assistance stuff, it makes life easier.







COPYING EFFECTS TO A BIN: Something that made FCP so flexible. Add an effect or two to a clip and then drag that clip into a bin which copies it with effects intact. Boom, there it is to copy and paste effects (and attributes) from for future use. If we had FIND IN TIMELINE we could search/find like name and also select FIND ALL to get multiple clips based on FIND criteria and easily add those copied effects from bin clips to timeline clips. We could also save just the effect with it’s adjusted values AND do things like create crossfade (see next comment on CROSSFADES) of a “special” length could also just save it to a bin. 4 frame crossfade, drag, boom. Got it. Much like the flexibility in Final Cut Pro which is why I complain. I feel like beat it or copy it… literally.







AUDIO MOVES IN TIMELINE SHOULD MOVE IN WHOLE NUMBER db’s - NOT IN POINT INCREMENTS: It’s frustrating that the audio keyframes don’t appear in the first two size increments of resizing the audio tracks. Smallest and next to smallest. Why?

I’ve come to realize that the simple editing basics of working in the timeline has become my least favorite thing about Premiere Pro.

Super Biggest Gripe, you have to hold CMD key to add a keyframe after it’s resized big enough to display audio keyframes BUT most of the real estate for doing this inside the clip is given to the INSERT/OVERWRITE MOVE TOOL instead of adding a keyframe. If Premiere would just let me map OPTION (which is free and the way FCP worked) it could make this conflict better.

Next, the specific-ness of hitting the volume line to add a keyframe feels way too specific and I fight with it too much for simplicity of a basic editing task.

Please allow me to map another key like holding OPTION an option at least and help me get this to be smooth as butter. This is basic editing.







[UPDATED/ADDRESSED IN NEW CC UPDATE ] COPYING AN AUDIO CROSS FADE TO ANOTHER AUDIO CLIP: It is way easier to do this in FCP. The TRACK SELECT COPY / TRACK SELECT PASTE feels like a pain in comparison - and doesn’t feel rock solid. In FCP you could copy and paste but the Track Selection was overidden by the the clip you select (like matchframe) AND you could also just drag a transition from clip to clip AND make it START, END, MIDDLE it’s postion all in that one drag. Way fast and effective.

I say copy FCP or beat it on this one. Additionally because you can save EFFECTS to a BIN in FCP and you CAN’T in Premiere Pro CC (ugh) copying TRANSITION like a CROSS DISSOLVE of 4 seconds or 4 frames to a bin is possible. Not in Premiere though.

Amendment: I see this has been addressed by selecting and pasting destination and a cool new LASSO feature BUT it’s still not really faster than a quick drag/FCP method - BUT you can slide it around on the timeline to reposition. Good things and decent things really. Dragging a crossfade to a destination is STILL faster than this new update AND in FCP you could drag into BINS for later use as well. Sorry, but this is still more useful and flexible.







REDO/MAKE BOUNDING BOX A CHECKBOX SELECTION ON/OFF: Right now you just double click a timeline clip and the bounding box appears and you can move. BUT you can’t select multiple clips and move them.

Have two clips, one on track V1 and one on track V2? Go to the PROGRAM viewer and try to select the clip on V1 with the double click bounding box method…. YOU CAN’T. It only take whats on top most track unless it is smaller than the whole frame. GRRRRRR. Even if you disable V2…. still bounding boxes top most track.

We NEED to be able to select multiple clips in the time line (like graphics in different positions on screen) and move them together with a BOUNDING BOX checkbox (not double click).

I tried GROUP CLIPS as a work around. Doesn’t work either. Bounding box just gets disabled on a GROUP.

Additionally, you now have new LINK SELECTION ON/OFF like FCP. Great, but now the LINKED SELECTION of clips in a GROUP don’t work as expected either. They become UNGROUPED behavior clips again. It’s the opposite behavior. Seems like a mistake. GROUPS should take precedence over the LINK SELECTION or they really don’t actually GROUP.







PARTIAL RENDERING STILL DOESN’T REALLY EXIST. If the series of clips are in your render selection if will keep any clip that got fully rendered… but I’d like partials to be kept. This one feels long overdue…

ALSO: To simplify, how about PREVIEW/QUICK RENDERING OPTION instead of the the way the timeline setting checkboxes confusingly do this. PREVIEW/QUICK RENDER would be choice so that it renders what you need rendered in the quickest codec render possible (perhaps even the one the timeline is set to) so you can look at it rendered ASAP while offline editing.

When you go to OUTPUT it would render at full quality unless YOU checkbox would override using your PREVIEW/QUICK RENDERS FOR SPEED. Basically just make this less complicated. I know people are gonna make masters using preview codecs instead of FULL QUALITY because of these checkbox thingies.

AMMENDMENT: The new ability to change sequence settings will help this out.







ALLOW THE ZOOM TOOL AND (spacebar) PAN AROUND TOOL to work in PROGRAM and SOURCE monitors: It’s Adobe and this an ADOBE thing. Please add this ADOBE feature to this ADOBE product.







ALLOW THE SCROLL WHEEL to adjust numeric values LIKE it does in Adobe After Effects. Like in AE for font sizes, scale, opacity, ETC. Please?







PREMIERE PRO CC ADDS INTERLACED 3:2 PULLDOWN!!!!!: I found this to be be excitingly cool. You can add in 23.98 clips to 29.97 timeline and BOOM… usable 3:2 pulldown EXCEPT… it’s starts the pulldown on the B frame of the traditional cadence NOT what should be more useful and standard A frame. OF NOTE: Apple gets this wrong too with compressor starting on the D frame first. Please address?







DEFAULT RED TRIM MODE MISSING DUAL ROLLERS? Always been baffled when I saw Al Mooney at LAFCPUG demo the TRIM MODE checkbox in Preferences to make the red arrows turn to RIPPLE YELLOW ARROWS BUT there was also a DUAL ROLLER when your parked in the middle of two clips. How come there isn’t a DUAL RED ROLLER on the default? It would make EXTEND EDIT KEYSTROKES even easier.







CLIP MARKERS STILL FEEL LIKE AN AFTER THOUGHT: Hadn’t been there until recent, but you have to map you’re own keyboard shortcut for adding them. Then you have SHOW AUDIO MARKERS enabled BUT you can’t see the markers unless

CAN’T SEE TIMELINE MARKER UNLESS the clip is expanded at least 2 increments: Not really helpful. FCP 7 and X do this and do this and do it way better. Markers are an very important part of timeline editing. They need to be there for ALL sizes.

Hitting MM in FCP got you a Marker ADD and the ability to NAME/EDIT EDIT. It’s still two steps in Premiere.







NUMERIC SLIP [STILL] DOESN’T WORK RIGHT: I’m a numeric slipper - especially when editing music for timing. I like to hit +1 or -1 and the clips slips internally. Premiere Pro CC STILL converts to SLIDE when you try to numerically type. I think this is a big FLAW and would like to see it addressed.







SAVE AMENDMENTS to already saved WORKSPACES: Right now you have to save an all new one.







CAN’T JUMP to a TIMECODE in the TIMELINE that is past the LAST CLIP in timeline: Open a new timeline and type in to the source timecode window 01:00:00:00. What happened. Nothing, right?

I can’t even add a new clip into timeline at this timecode because there isn’t a clip already in the timeline beyond this point. You have to slop a clip later in the timeline to do this? ARRRGGGGGGG!







AUDIO LEVEL AND VIDEO KEYFRAMES in TIMELINE CLIPS don’t go to all the way to the top or or all the way to the bottom: This drives me f’ing nuts. I already have an issue with adding keyframes and now if you move the audio keyframe up to the top… it doesn’t actually go to the top. It seems it’s part of the design AND that there is a sort of bumper at the top. Fine, I can kinda see that there but drag it to the bottom and it doesn’t go all the way to the bottom. Visually it looks like a mistake that I find myself second guessing - the white highlighting doesn’t help either…







AUDIO LEVELS USING DECIMAL VALUES IN THE TIMELINE? Um.. Why? It isn’t really more likely for an editor to need to raise up audio levels 2.68db instead of a more specific whole numbers like 3db or 6db - which are important numbers for audio. Why doesn’t it snap to ZERO?

Also, when you go to the top limit why does it say +6.02db instead of +6 like it does in the Clip Mixer???? ) Also, why +6 instead of +12 for instance?







LABEL NAMES: Isn’t the first you’ve heard this… the label names suck. So, if you’re gonna keep them then EVERY TIME I have a choice of LABELS presented to me then I NEED a visual COLOR PALETTE (on the right for instance) to go along with it so I don’t have to GUESS what CARIBBEAN or CERULEAN or whatever the crap their names are look like in the world of colors. (SEE IMAGE)







DEFAULT TIMELINE LAYOUT feels best for just “demoing” Premiere Pro CC vs actually editing real world projects with the timeline so scrunched. Just a comment.







THE WAVEFORMS INSIDE AUDIO CLIPS IN TIMELINE DON’T CHANGE: Normalize, change volume or add a compressor. They look the same. Adjust anything and they STILL look the same as they were without any work done to the audio. Check out FCPX for an OUTSTANDING usage of waveforms. Initial volume in background, new volume waveforms after adding audio effects AND the YELLOW RED additions when clips audio is getting to loud. This is really amazing looking. It’s part of making TIMELINE EDITING better and that’s what I want from Premiere Pro CC.

@StrypesInPost adds that the AUDIO GAIN TOOL popup [mappable to your choice of keystrokes] appears to be the ONLY tool that the waveform readjusts after you use it)







I NEED “PLAY AROUND” TO ACTUALLY “PLAY AROUND & LOOP” AS THE FEATURE INSTEAD: Currently you have to turn on LOOP in the program window and then PLAY AROUND. Isn’t that more likely what the use of PLAY AROUND will be used for editing moreover?







[BOOM WE GO THIS ONE in UPDATE] MODIFY SEQUENCE SETTING(s) AFTER IT IS CREATED: This can’t be the first you’ve heard this. Sometimes you want to just change the rendering codec or the frame rate or something. Do we really have to start all over? In FInal Cut Pro, the workaround was to copy the timeline into RAM, DELETE all clips and THEN you could change timeline settings. I guess we have to Create a NEW SEQUENCE in Premiere, setup all the new setting and timecode settings THEN paste the selected from RAM for instance. Would be cool to alter the timeline clips are in. Just saying.







CLICK AND DRAG VIDEO CLIP UPWARD OFF SCREEN: Should be able to use it to move/scroll up to VIDEO TRACK 50 and back down visually as you hold it. Try to grab VIDEO off TRACK ONE and try to move it up to TRACK 50 the TIMELINE won’t budge upward. Won’t let you roll past current screen layout to offscreen tracks.







TURN ON LINK SELECTION and GROUPED clips don’t react like a GROUPED CLIP anymore. Grouped clips should override the LINKED SELECTION setting because that’s why you grouped them in the first place, and they current DO NOT.







NO REVERSE TELECINE: Adobe Media Encoder doesn’t even offer a SMART REVERSE TELECINE feature (like Compressor does) to remove non perfect cadence. With digital 23.98 versions of older television shows hitting new media, that cadence is NOT the same across the show. We need to get it removed SMARTLY on an EDIT BY EDIT basis. Apple Compressor has had this for years, but lately it seems to suck more. HELP US…. Please?







MAKE ADDING CROSS DISSOLVE SMARTER: Make it so we can not only add it BUT ADD AND DETERMINE its STARTING AT CUT, CENTERED ON CUT, AND ENDING AT CUT status with just the one move/key command.







BACKGROUND RENDERING and TRANSCODING: Pretty self explanatory. It would be cool to render in the background and like FCPX transcode files a common codec AND reconnect all without me doing anything. I know Premiere is wicked about playing native files but there may be a need for this instead of using Prelude. Prelude is a full production tool - not really a great editors tool. This isn’t usually a big deal for me but I know it is to others. (although this week I wanted to convert timeline media to an offline codec)







DLSR FOOTAGE DOESN’T READ TIME OF DAY TIMECODE: TimeOfDayTC exists in a sidecar .THM and when you import native DSLR footage into Premiere… it “magically” just plays. AWESOME!!! It starts all clips at 00:00:00:00 though. Even transcoding in Prelude doesn’t allow a transcode using the .THM files. Time of Day TC could be useful to us. Magic Bullet Grinder does allow a few choices here, and that’s exactly why I use it over Adobe Prelude.







CHANGING LABEL COLOR IN BINS SHOULD CHANGE LABEL COLOR IN TIMELINE - I hear you can’t because there’s not a connection BUT if that is the case why does deleting a clip in the bin delete the clip in the timeline (which I would like NOT to happen either)







3-WAY COLOR CORRECTOR NEEDS A 2013 MAKEOVER: The addition of the weird rectangle slider doesn’t make sense to me. I just moved the point to add blue why do I have to move some silly rectangle to accept the move or add a percentage of the added color. The black point white point is also less simple and television oriented as tools. Copy 3-way in FCP and Colorista which uses “subtractive color” vs additive color makes a huge difference in the adding of color to black areas.

For the 3way CC in Premiere Pro CC - I HATE using this tool. Use Speed Grade you say? Look, I’ve color corrected hundreds of hours of broadcast and feature programming using the built in FCP tools for one super duper big reason over COLOR or RESOLVE. The project wasn’t actually locked. It’s hardly ever locked. Using timeline based color correction allowed for additional editing to still continue AND onlining to continue as well. Until Speed Grade just becomes built INSIDE a PREMIERE timeline I’m going to continue to bitch about the 3-way color corrector Adobe currently gives me.







CAN’T SEE TIMELINE MARKER UNLESS the clip is expanded at least 2 increments: Not really helpful. FCP 7 and X do this and do this and do it way better. Markers are an very important part of timeline editing.







OPTION ARROW to MOVE CLIPS: Yup, we got it now, but it will PLOW DELETE™ through anything it comes in contact with as opposed to hitting a clip wall. I think that could be useful of course AND I think that could also be a DESTRUCTIVE problem. Anyway to INVENT a “hold a modifier key” to either PLOW DELETE™ move or NOT PLOW DELETE™ move?

Oddly I love when you numericly move a clip back and forward in timeline it PLOW DELETES™ whats behind or in front of it - It’s the way it should be unlike FCP 7.







I know there is SNAPPING for moving clips so they move tracks but not horizontal positions on the timeline. I seem to be able to knock it out of position despite. In FCP we held the shift to lock it when moving up and down tracks to stay in place. I think I still want to do that for security and peace of mind.







SCALE TO FIT IDENTIFIER : Clips that have been “SCALED TO FIT” based on the preferences need some sort of clue/ID/Marker that they’ve been “SCALED TO FIT”. We don’t always edit our own projects and it would be sad to find that editor scaled a clip past 130 percent and if you you disable the scale to fit you could have not lost much resolution. But you can’t tell as the new operator of the timeline unless you know this, right? (SEE NEXT WISH)







AN ADDITIONAL OPTION FOR SCALE TO FIT BY SMART CALCULATIONS OF MOTION AND DISTORT - NOT BY SIMPLY SCALING RESOLUTION: I get with proxies why you chose this method BUT we should be able to add a clip of a different size to a timeline and PREMIERE calculates the Math to making it fit - LIke 1080p into a 720p timeline. Premiere should know how to motion/distort/PAR the clips to be correct. Leaving it up to us (the way it is) seems like a good way for some many to f**k that all up.







PANNING AUDIO should just be a simple light up L C R button in the timeline.







OPTION CLICK AUDIO TRACK solos that track and a SECOND OPTION CLICK inverses that choice: It’s a FCP 7 thing but it works and is fast. Just wish I could program this.







TRACK SELECT TOOL should be multiple ARROWS/POINTERS now that you’ve changed the default behavior.











SPEED RAMP TRIANGLES are weird: It’s a start but I’m confident you can do better or have a AE-LIKE keyframe editor instead.







INSERT AND OVERWRITE should probably be colored RED and YELLOW for functionality and design.







WHITE HIGHLIGHTING of CLIP WHEN SELECTED has NOT grown on me: I think it still feels beta. Additionally, this highlight confuses the boundaries of the selected clip for AUDIO levels and keyframes because it looks like it doesn’t go to bottom…







REMOVING AUDIO KEYFRAME(s) should be just a held modifier - like option in FCP 7 (which is timeline editing faster)

(@StrypesInPost added that the PEN TOOL can marquee select multiple audio keyframes and delete (which is a neat feature for sure) but I was simply referring to the RIGHT CLICK POP UP / SCROLL DOWN / DELETE vs OPTION CLICK)







DOUBLE CLICKING a TRANSITION should open it in the effects menu vs a POP UP DURATION HUD - which could simply be part of the effect menu as well.









SOUND EFFECTS LIBRARY: Like what came with FCP7







NEED TO BE MORE PLUGIN FRIENDLY: Everybody that does this work feels the API is too difficult. FCPX has new plugins so often it’s like rabbits doing it.







**NEW ADDITIONS AFTER USING JUST ONE DAY ON A REGULAR JOB:

**COPY AND PASTE CLIP(s) and the TRACK SELECTION(S) are driving me nuts. I copy a selection off track V5 and I hit paste to go to the same track and I just have to keep UNDOING and use TRACK SELECTIONS. I just want to quickly paste to the same damn track. This is the kind of stuff that drove me nuts about MATCH FRAME clip selecting until it finally got updated. (NOTE: HAVING NO TRACK SELECTIONS ENABLED allows pasting to tracks items were copied from)

TRACK SELECTION TOOL “DESELECTING”: Use the TRACK SELECT TOOL and sometimes you get and audio track ahead of it in the timeline that extends into your TRACK SELECTION - you can’t hold a modifier key (LIKE IN FCP7) and deselect that unwanted track from the TRACK SELECTION TOOL?

SEARCH CRITERIA FIELD ACTIVE/ENABLED: Add something in the SEARCH criteria box to locate media in the project or bin. This is an After Effects thing and works great with the effects and presets for After Effects. While editing in Premiere though, you return to the same bin and you’ll find yourself confused cause the previous search criteria from 20 minutes ago is still hiding non criteria media so you have to delete/reset it. Throughout the day, this is really starting to become annoying. Perhaps a “reset” after unused for a minute or something?

(As long as GRRR is in this box you can’t see anything else til you [ X ] - RESET it - Super useful in AE but feels like a hindrance while editing)







After all this time, I still honestly still do most all editing with Final Cut Pro 7. Various shows, films and docs I work on are still using FCP 7 as well.

If Premiere CC has 64bit and Mercury Engine Native Playback and I think it is such and improvement forward THEN whats the hold up?

Well, most companies I work with are still doing regular television, docs, and feature films in Final Cut Pro 7. It’s flexibility makes up for the lack of no real time, the need for transcoding, and the fact that there are no updates anymore or ever. It’s hard to knock that if you just want to edit and put out all that’s needed in a show, film or doc, it still works for most everything you need and there is a support of plugins and third party tools to conquer what’s missing.

Final Cut Pro 7 is end of life…but it still isn’t dead yet…

continues on:

NEW ADDITIONS AFTER DAY ONE ON A PREMIERE CC JOB

http://theeditdoctor.tumblr.com/post/66989375441/new-additions-after-day-one-on-premiere-cc-job