Let me set Source settings for clips directly on the Timeline!

[Rob Ruffo]

Easy way to implement while keeping everything logical and parallel:

Radio button that switches between "Use Project Settings" or "Use Timeline Settings"

Now if a clip looks wrong next to other clips in the Timeline context, I must find the original clip in the Project list (a pain especially when it is a sub-clip), then change the Source Settings.

What also happens often is that longer shots, like Steadicam long walks, may need slightly different settings at different moments. To accomplish this now I must duplicate the clip, and make sure I use the right duplicate in the right place.

Same goes for when I want to ramp values, like ISO or white balance, or make layers with masks (say to have the view outside different from the interior). I have to make a duplicate, re-align the duplicate so that it has the same in-out points as the original underlying clip, blah blah blah - what a waste of time!

I could have all this time back for sleep and spending more time with my beautiful wife if I coudl right-click on any clip, and have a Source Settings option.

Also PLEASE LET ME TRACK CLONE STAMPS WITH THE AE TRACKER!!!!!

Combustion has this feature in 1998!!!!!!

 

[Tom Lowe]

Word up.

It would be much better if Red RAW controls were part of the timeline, like any effect.

This is true of ACR files as well, both in Premiere and After Effects. Right now, Red and Canon RAW imports are essentially treated like still photos!!

 

[Rob Ruffo]

I think it's a shame that so may software makers focus only on gee-wiz features, while leaving basic interface kludges for years and years untouched. The non-trackable Clone Stamp is a flagrant example, that has wasted days of my life. How tough would it be to fix that? 20 lines of code? 10? One wonders if the guys who program this stuff ever actually use it - I mean this becomes an obvious weakness - a really good reason to buy some other software instead of AE - the first time you try to hide a stray cable in a moving shot or a pimple on an actor's face that makeup couldn't quite hide - things that occur on just about EVERY shoot.

This is why Avid is so popular - it's not really powerful, less than Premiere in many ways and way more expensive, but they've actually fixed a few more kludges.

"Powerful" features are not that powerful in practice if it takes too long to use them and they are not user-friendly.

 

[Tom Lowe]

Rob, cheer up. The Adobe guys read and post here now, and have been super receptive to ideas that forum members have suggested. Things are changing. Adobe is now starting to steamroll Apple and Avid, and the Adobe team members here like Troy and David seem to be taking their new position at the top of the industry seriously. I think it's fantastic to have them listening to and interacting with us.

 

[Rob Ruffo]

I think it is fantastic too - there is much to love about CS5, and I mostly LOVE working with all the tools in the suite - making the need all the more dramatic to fix these little kludges - it would be so easy, and it would increase the value of all the rest of the enormous hard work already put into the product by the talented team at Adobe.

 

[Uli Plank]

Having done some fair share of coding in another life I'd never make any assumptions about the effort for "a few lines of code" if I don't know the code myself (and even then…).

Adobe has given us some nice compositing features in PPro, but their main compositing program is AE, and it's pretty well integrated. Plus, they licensed Mocha for a reason!

 

[Kwan Khan]

Great thread, thanks for all the tips and tricks

 

[Obin Olson]

I have just clicked my mouse over 8,000 times to get to SOURCE settings to color correct a feature film.

Man up the F**K up guys, stop whining....do you see me whining?:emote_popcorn:

 

[Uli Plank]

Why 8,000 times? Your sources from one scene should be close enough to give them the same settings as a group, not individually, if the camera people didn't f&*%k it up big style.

Or do you color correct at the source? I'd go Apple Color or DaVinci Resolve for that…

 

[Tom Lowe]

I have just clicked my mouse over 8,000 times to get to SOURCE settings to color correct a feature film.

Man up the F**K up guys, stop whining....do you see me whining?:emote_popcorn:

LMFAO.

 

[David McGavran]

I think it's a shame that so may software makers focus only on gee-wiz features, while leaving basic interface kludges for years and years untouched. The non-trackable Clone Stamp is a flagrant example, that has wasted days of my life. How tough would it be to fix that? 20 lines of code? 10? One wonders if the guys who program this stuff ever actually use it - I mean this becomes an obvious weakness - a really good reason to buy some other software instead of AE - the first time you try to hide a stray cable in a moving shot or a pimple on an actor's face that makeup couldn't quite hide - things that occur on just about EVERY shoot.

This is why Avid is so popular - it's not really powerful, less than Premiere in many ways and way more expensive, but they've actually fixed a few more kludges.

"Powerful" features are not that powerful in practice if it takes too long to use them and they are not user-friendly.

We aren't ignoring these problems. We talk about this idea often.... We have many priorities and many things to get done... You guys talking about this in a happy productive manor would help use prioritze.

Cheers

Dave

 

[shashbugu]

Actually Rob if you set the clone tool in AE paint window, you can record paint over time. Its very similar to paint record setting in Autodesk Smoke.

that said for the past couple of months I have not been able to see myself use any other package apart from PrePro. Its just unbelievably fast.

 

[Kujtim Ereqi]

A shortcut would be more than enough to get to "source settings". Just select the clip in the time line and then a simple shortcut could do the job.
If a shortcut takes time to program, let it be two shortcuts. For example "R" for "Reveal in Project" and then "S" for "Source Settings".

P.s. A very simple shourcut IMO could be:
(Ctrl-Alt-Shift+ABCDFG+right-click+moving the mouse 3 times clockwise+saying aloud through your microphone "Source Settings") ut: ut: ut:

 

[Amir Stone]

Hi Rob,

Thanks for the great feedback. Like Dave said, we work pretty hard to get all different features and workflows working well and honestly there is just only so much we can do in the time that is allotted to us. It may surprise you, but the core AE team only consists of about 14 or so developers and a similar number of QE. So while we have a lot to get done, having people like you express your pain points really helps us figure out what would be best to prioritize and work on first.

I've forwarded this thread to the team to see how we can address it.
Thanks, and keep the feedback coming, we're listening.
Amir
AE Dev.
​

 

[shashbugu]

Hi Rob,

Thanks for the great feedback. Like Dave said, we work pretty hard to get all different features and workflows working well and honestly there is just only so much we can do in the time that is allotted to us. It may surprise you, but the core AE team only consists of about 14 or so developers and a similar number of QE. So while we have a lot to get done, having people like you express your pain points really helps us figure out what would be best to prioritize and work on first.

I've forwarded this thread to the team to see how we can address it.
Thanks, and keep the feedback coming, we're listening.
Amir
AE Dev.
​

Amir there are lots and lots of features we want in AE. These issues pop up on a day to day basis as we use the software. "BUT HONESTLY" I am in the camp of first things first "MERCURY PLAYBACK AND CUDA ACCELERATION IN AFTER EFFECTS FIRST" before any other new features. Just like you have done fabulously in PProCS5. Testimonial: it is absolutely incredible and entertaining to watch FCP users Jaws drop when you color correct and playback RED footage in full debayer real real time.

 

[Michael Romano]

I feel the OP on the timeline integration, it just seems logical to have it that way. Adobe is wising up though, now is a great time to swoop down and rob the nest from FCP/MC.

 

[Tom Lowe]

You guys talking about this in a happy productive manor would help use prioritize.

I agree.

BTW, I am seeing and hearing evidence of people grabbing life vests and diving off Final Cut like it was the Titanic. :smilielol5:

 

[shashbugu]

I agree.

BTW, I am seeing and hearing evidence of people grabbing life vests and diving off Final Cut like it was the Titanic. :smilielol5:

:lol: I bet even the die hard FCP fans are at least cutting DSLR footage on Premiere.

 

[Rob Ruffo]

Why 8,000 times? Your sources from one scene should be close enough to give them the same settings as a group, not individually, if the camera people didn't f&*%k it up big style.

Or do you color correct at the source? I'd go Apple Color or DaVinci Resolve for that…

Often there are small variations in lighting between moments in a take, let alone a reel.

 

[Rob Ruffo]

Hi Rob,

Thanks for the great feedback. Like Dave said, we work pretty hard to get all different features and workflows working well and honestly there is just only so much we can do in the time that is allotted to us. It may surprise you, but the core AE team only consists of about 14 or so developers and a similar number of QE. So while we have a lot to get done, having people like you express your pain points really helps us figure out what would be best to prioritize and work on first.

I've forwarded this thread to the team to see how we can address it.
Thanks, and keep the feedback coming, we're listening.
Amir
AE Dev.
​

That is awesome. Truly awesome. Good luck with continued excellent work.