Timecode offset

When we capture video from our Sony HDCAM HDW-500 deck over HD SDI there is a 1 frame difference between the timecode track and the timecode burn-in on the video. The capture offset option has no effect. This all occurs when we use the "AJA Kona 3: 1080i 29.97 10-bit" codec. After speaking extensively with AJA support, we have yet to come up with a solution.
Any others with thoughts or experience on this topic?

Twirl down the panel menu (right top corner) of the timeline and check Start Time.
That will let you alter the timecode for each timeline.

Similar Messages

Timecode offset when rendering DPX to DPX

I'm working on a project where the source material is DPX files with 24FPS timecode. When I render back to DPX files, there's a slight offset in the timecode written in the DPX headers of the rendered frame, anything from 1 to 5 frames off. Is this is known problem? Is Color trying to do some 23.976/24 fps math on the timecode, which it should not do?
The workaround for now has been to write some Perl code to extract the original timecode from the source DPX sequences and stick that back into the header of the rendered frames.
Thanks,
JF

Are the "In" frames correct -- and just the time code that's wrong?
How was the timeline constructed? Was the framerate determined by the import or a user setup?
jPo

Modify timecode offset

How do I modify a series of clips by offsetting their timecode?
scenario: I have two tapes of the same event; continuous record (no T/C breaks); I log tape 1; I export an XML file and reimport that to get a second set of clips which I modify to be a log of tape 2, which matches the log of tape 1;
I modify its reel name (tape2) but I need to offset the timecodes of all the clips on tape 2 by one determined amount.
How do I do that?
Thanks,
Neil.

I have a recommendation which could be a better fit for your needs long term.
Capture both tapes whole.
Make a Multi-Clip (sync the two to in-points).
Then log the clips, add markers at each log point with a description, you can also set an outpoint for your clip with a different colored marker.
Finally, not a must, but could be helpful for your specific workflow, make sub-clips from in to out markers, so that you end up with subs of the multiclip for each logged clip in/out.
This way, you will always have both clips synced up and ready to cut with on your timeline, so you will never have to go back to a bin with the 2nd tapes clips and reinsert, and you won't have potential sync issues, because they will always be in sync.
Note : potential problem is that there can be sync-slip depending on what format you are capturing, what device you are using, etc. (i.e. capturing a tape in a sony deck that was shot in a panasonic camera, capturing more than 15 minutes of DV at a time can usually lead to audio sync-slip)
hope this helps.

Subtitle timecode offset in dvd studio pro

I have a TXT file (write in stl language) with timecode in and out and relative subtitle...
But the txt file have the TC reference of a original Beta timecode... so Begin at 01:01:00:00
when I import my txt file in dvd studio all the subtitle are offset foraward because the MPG2 file begin at 00:00:00:00
I use time code offset and set in timeline Assettimecode but I have not result...
I write in the txt file the line $tapeoffset = true
but dvd studio pro don't import the file whit this string...
Please Help ME...

Welcome to the forums, Marco.
If the MPEG2 file starts at 00:00:00:00 and your subtitle file assumes a 01:00:00:00 start, and none of the other things you tried are working offset-wise, I would say to just edit your STL so that you change the leading 01: to an 00:
The way I would do this is with Bare Bones's TextWrangler (free) and do a search and replace. You would search for "\r01:" and replace with "\r00:", then search for "\r02:" and replace with "\r01:" (assuming it's not longer than 2 hrs).
The "\r" will only search for numbers preceded by a carriage return, so it'll only change the first number in the timecode and leave any others alone.

Timecode offset in subtitles

I just imported an STL file with 230 subtitles. They are offset by 10 hrs and I want to adjust them. I follow the manual and use an offset for the track and use the asset time code. Then I set the $TapeOffset to TRUE. But this makes DVD SP refuse to import. So I use search and change to change all my time codes. Easy but it turns out they're off by a couple off seconds.
Why can't I offset or drag the subtitles somehow. I can only move them one by one. Very NOT Mac feeling, I must say. Or am I stupid? Is there an easy solution?
Oh, its DVD SP 3.

yea - the most recent versions seem to have done some funky things. you should look into the preferences, because you can specify that it do everything as unicode, and that should retain any special characters. while they may display wrong in STL Edit, it's always possible that they'll appear correctly in DVD SP - if there's a text encoding mis-match that can happen.
-perry

Subtitle timecode offset

I have been given a DVD SP project with a subtitle text file. The editor has now changed the footage to make it shorter so the subtitles are obviously out of time. Is there a command which will take into account this difference or do I have to go through and change the timecodes manually. Is there a way to import the subtitles as a group and then move all of them simultaneously into a new position on the track?
Thanks
Dan

Dan Creed wrote:
Is there a command which will take into account this difference or do I have to go through and change the timecodes manually. Is there a way to import the subtitles as a group and then move all of them simultaneously into a new position on the track?
There's no function or command (or utility) native to Final Cut Studio to solve your issue. And I phrase it like that because there might be some kind of third-party application that could speed the process but nothing that I'm familiar with. (Hopefully others will chime in.)

Onlining Catastrophe, how do I offset timecode?

Greetings,.
I have just onlined a music video, feeding in reels, and getting 8bit footage to replace my offline edit. However I have noticed after completeing the laborious process that the first reel is out of sync, but quite a bit. I am not sure how this could have happenned as I am using the same equipment etc to capture the highquality as I did the offline.... The other reeels are fine, its only the first which has the problem. What should I do. Obviously I have to recapture the footage, but how do I accomdate the timecode difference in the footage I am getting? What is the best way to structure this so that the new capture replaces the old footage, How do I not screw this up and loose everything? How do i stop this tense feeling running up and down my spine.
okay.
Five minutes of deep breathing and I'm back. I sip my cup of tea and continue calmly. This is what I think I will do. duplicate my project. In the browser select everything on the first reel, and make it offline. then recapture this. This is where my plan falls down, determining the timecode offset. There is no timecode burn, or slate. My question to you kind people is how do I do this and is my workflow for saving this project correct.
Yours sincerely
Peter Stenhouse

if you're working on a permanent system with the same deck and capture configuration frequently, it pays to do the following:
log and capture a short clip with a time code window burn. This will give you a quick and easy reference to determine your offset -- say the difference between your FCP time code and the window burn is two frames.
Then set up a device control preset for that deck: go into Audio/Video settings > Device Control Presets. In this window you can create a new preset, with the proper offset.
Then test the preset by recapturing the original test clip. If you've entered it correctly, the window burn should match the FCP TC.
G4 Mac OS X (10.2.x)

Timecode Torment continued, Still out of sync Online.

Hi there. I have just performed a timecode offset to compensate for my out of sync online. This was made possible with the advice of Rienk, who suggested that I find an obvious point in my OfflineEdit Reel 01 and the Reel in the Deck and sync the timecodes. However After onlining again, I have noticed that the footage is only synced in parts. After making comparrisons with the timecodes of the offline and the deck I have noticed that the offset increases over the duration of the tape. One comparrioson half way through the tape showed a diffenrced in TC of 4 frames while 10 minutes on the differnce was 15 frames. Now I think I have every right to be very paniced. I am not equiped to deal with this sort of thing. I don't know what to do and the Machine room is a huge mess. At what point to I have to reEdit, or Bring in an entire tape uncompressed and piece together those parts which are not in sync. Could this be a result of using multiclip to edit? Why do these things happen to people, why do the mathematical demons pick on me.
If you have any answers, suggestions, good places to hide, or can recommend a good home for the bewildered, please let me know
Sincrely
Peter

Hi, I am experiencing some of the same issues. I am wondering about your sources/assets... how they were recorded? Are they all imported into FCP? I record mostly live events and frequently use external audio recording devices other than cameras. In post, all the audio must be synchronized before I begin editing the multi-cam project. I have tested the audio recording of my cameras and multi-track computer software. I find that over the time span of one hour the cameras (and audio) remain in perfect sync while the computer multi-track recording may be off by several frames. Although the recording is in perfect at the begining, over the period of one hour, sync is lost. Audio software applications have the ability to "correct" this problem by "stretching" or "shrinking" the audio track based on the offset.

Capture offsets broken?

Is anyone having the same problems I'm having adjusting RS-422 timecode offsets on capture? They just won't stick...
We do a regular show that's offlined on Avid, and finished via Automatic Duck in FCP and Color. As you'd expect from Avid's deck-specific capture templates, capture into Avid from our Sony J-3 playback deck is frame accurate.
FCP's device control presets are rather more generic, and fair enough – even the same models of decks vary, and although I've never found Avid's templates to be off, perhaps they could be... in theory.
Anyhow, when we recapture for online from source Digibeta and the occasional SP from the J-3 via a Kona LHe, the timecode received by FCP is consistently 2 frames off. I know this from comparing the clip's timecode with an SDI video burn in.
So I adjust the Device Control capture offset by 2 frames, create a new Easy Setup and try again. No difference. I go 4 frames the other way, and try again. Nothing changes. The stated offset is different, and FCP IGNORES IT! Trashing prefs, repairing permissions – nothing seems to alter the fact that whatever in either FCP or the Kona drivers is meant to look at, and adjust, captured code to match an offset, simply doesn't work.
Thoughts anyone? Kona/BlackMagic users?

Hi fearless,
Did you try putting in '-' values (minus) in the Capture Offset?
Do they do something?
And did 'use deck search mechanism' help you in this? Does it make difference? (It does wit my sony dsr1500AP)
And finally: Did you select 'LTC + VITC' for the Time Source. Does the settings make any difference? (and then another question comes up: Does the VITC equal the LTC on the tape, as it should?)
Just a few shots in the dark
Rienk
Rienk

Fcp changing timecode upon capture

i'm capturing dvcpro hd 720p 59.94 clips into my project using a panasonic AJ-HD1200 deck. the tapes are drop frame according to the deck. fcp plays and logs the clips as drop frame yet after i capture them they show up in the bin as non-drop frame with the timecode offset to account for that difference. why would fcp convert these clips to non-drop frame? thanks.

capturing at 59.94.
timecode was not generated by a camera. it was a 6-camera shoot that was recorded onto a rackful of panasonic aj-hd1200's.
i'm trying trying to find out why there's a mismatch in the code. like i said the deck and the capture tool both indicate that it's drop frame. however once it's been captured, the timecode of the clip stored in the bin is now non-drop frame and is different than the mark in & out codes originally marked by the capture. for example an in-point of 13:28:24;01 in the capture tool (also in the bin when it's been logged) becomes 13:27:35:15 after it's been captured.
i'm wondering if there's some mysterious setting somewhere that would this to happen that i'm overlooking. as far as i'm concerned everything should be transparent in this regard.

Correlating timecode amongst different tracks

I have four video tracks covering roughly the same extent of time (an auto race). The video sources do not all start at exactly the same time. I use quarter-pip to composite the tracks in different ways. This is where my difficulty arises.
The timecode at the "in" point for the high-def forward cam is 12:53;26, that for the roof cam, 11:04;07 and so on. (This is for clips which are selected in the timeline.) It's going to get mightily complicated. I would have expected clips displayed "from" the timeline to conform to the timeline timecode, i.e., they would all start at 0 at the "in" point. In other words, I would prefer to have the computer do the correlation of the different timecodes, since it is less prone to error in this instance.
Just running through and editing the sequence in real-time is not an option, since it is too complex to display (even in unlimited, low, quarter RT) more than one frame every few seconds. As a result, I am stuck finding the interesting bits of each track and splicing them in to the timeline with their fellows, which I cannot effectively do, given this lack of correlation amongst the timecodes.
The documentation has been little help so far. It may be that I am too far off-base wrt normal video editing.

I'm not sure whether this will be helpful, but it might.
I'm editing a music video with 9 HD video streams and no timecode sync.
First of all, I sync'd up each track to the music. (You are lucky you can
sync to timecode offsets)
Then I wanted to do a multicam edit, but I couldn't use timecode,
in points, or out points. So I exported each track, beginning at the
beginning of the sequence (lots of black frames) up to the end of
the clip(s) on that track. Sometimes the track contained more
than one media file. That's one way to reduce the number of
video streams in the multicam mode.
The resulting exports were then reimported and could then be synced
by their in points. So I selected the new media files and made a multiclip.
At that point I opened the project in Media Manager and recompressed.
So now I have a small RT version of the 1080p project using little photojpegs...
and now I can do an offline edit on my laptop sitting in a cafe...sweet!
This is a lot of work, but it has been absolutely worth it!
FCP's clunky mulitcam edit mode has allowed me to move really fast,
try out all kinds of edits amongst the 9 streams, and have lots of fun.
When I'm done editing, I'll go back to the HD files.
Like I said, it's not the workflow you were planning, but it does work
well for cutting multicamera action.

How to export quicktime with timecode burn?

I am scoring a film (in Pro Tools HD) and the editor isn't quite sure how to export the film to a quicktime movie with timecode burned in (i believe that's the term for timecode being visible on the preview...?). I don't know what version of FCP he's on but I was hoping someone could give me some generalized instructions I could give him.
Also, if I have to compress the video to slipstream the processing/reading in pro tools, will I retain proper timecode? thanks!

He would have to change the Timecode offset value under the Filters tab in the Browser.
Find a scene that starts on a hard cut, say 1 minute or so into the movie. Note the timecode.
Your guy then fiddles around with the beginning, making it 6 seconds and 8 frames shorter.
Go back to the reference cut and you will see that its TC has changed by that much.
Adjust the Offset parameter to match. This has to be done by entering the number of frames. You can use positive and negative values as required, which will also cover for the changed scenes turning out longer than they were originally.

Tape with timecode

Hi all i write from italy and have a little problem, i hope someone can help me.
I need to make tape "digital betacam" with timecode offset, need the tv spots start at 10:00:00:00, i use betacam DVW-500P
in embedded mode.
can help me?
Thank for you reply
Alessandro

I'm sure you guys are right, but I'm shocked. Made an assumption there. Also making assumptions that EBU time code works in similar ways to SMPTE, which I'm sure is wrong.
The thing that surprises me most is that I assume the Konas and Black Magics of the world (which I don't have) pass VITC as a standard procedure. And any video deck that receives VITC records it - unless those lines are blanked. And many of those decks will go the extra mile and record that same code as LTC.
Another tack... if you have timecode going out via RS-422 control, and you kindly ask the deck to record through same control, won't it send out the sequence timecode, which would be dutifully recorded on the other end?
This is interesting to me because I have wanted to get back towards time code as a project tracking and communication tool, and it seems some of what I thought I'd be doing won't be possible.
I would also have assumed that code would follow through SDI to say a DBeta...

CS5 PPro Record plugin offset bug

In "Capture Settings", if set "Timecode Offset" to -1, PremierePro will pass the wrong information to Record plugin.
i.e.
If it is IN/OUT capture, the timeCode in recCapParmsRec8 has no change (same as when offset is 0), frameCount has no change (good). Therefor, -1 offset is not applied.
If it is batch capture, the timeCode in recCapParmsRec8 has one less (good), but frameCount also has one less (wrong). Therefor, it captured one frame less then specified.
Another problem caused by this is, since offset parameter is not passed to Record plugin. Record plugin cannot adjust the timecode metadata written to the file.

Hello Zac,
Giving a correct recCapParmsRec8.timeCode value is enough for adjusting video frames capturing, but not enough for matching timecode to the frames.
i.e. in 25 fps, capturing from xx:xx:10:00 to xx:xx:20:00, the picture in 10:00 is "ZERO", the picture in 20:00 is "Two Hundred Fifty". Due to the hardware/system error, the captured result is "ONE" in xx:xx:10:00. Therefor, you adjust the offset to -1(or 1), PPro tells the recorder to start capture at timecode xx:xx:09:24 and capture 250 frames, recorder will capture the frames from "ZERO" to "Two Hundred Fifty" (which is good), but will match them to the timecode xx:xx:09:24 to xx:xx:19:24. Writing this timecode to the meta data of the video files is not correct, and there is no way to adjust it.
Regards,
Jiangping

CS5.5 Gripes/CS6 Wish List (from the perspective of an FCP switcher)

I have been a Final Cut Pro user for more than 10 years (starting with version 1.2 on a 500 MHz G4). Final Cut Pro X is a disaster, but that’s a well-covered topic for a different forum. After experimenting with Premiere Pro CS5.5 for a few months, I am ready to make the switch for all of my future projects.
I make a living editing video. I don’t, however, work for a big company, and I don’t have a lot of money to spend on third-party software or hardware. Much of my work is shot on DSLRs and delivered online. That may put me in the category of “pro-sumer” to some, but I wouldn’t be making the switch if I didn’t require a more professional alternative to FCPX to do my job.
I also don’t think “pro” has to be synonymous with clunky and ugly. (I’m looking at you, Avid.) When Final Cut was young, it was fun, intuitive, and sturdy. It became a robust, professional NLE over time. I think Premiere Pro is on that path now.
I like the look, the feel, and the functionality of CS5.5. It’s not quite Apple-slick, but it’s very much at home on a Mac. Overall, it’s an upgrade to FCP7 and a very strong alternative to FCPX. I have high hopes for CS6.
But this is not a comprehensive review. It is just a list of negatives: my gripes, wishes, and personal preferences. My list of positives would be much longer, but my concern right now is with CS6 and the improvements that I hope it delivers. As I am new to Premiere, it's quite possible that I am mistaken about certain functionalities or lack thereof, but I thoroughly researched each point in the help docs and forums before posting this.
My primary system is a 3.2 GHz iMac 21” (2010) with 8 GB RAM, 512MB VRAM (ATI Radeon HD), running Mac OS X 10.7 with external Firewire 800 drives and a DisplayPort-to-HDMI external display.
MAJOR ISSUES
Hardware acceleration support for ATI GPUs
There are rumors that Apple will be switching back to nVidia, but all recent iMacs have ATI and only ATI cards.
Background rendering (or at least improved rendering options)
Background rendering is probably FCPX’s most impressive feature and Adobe needs to catch up. However, even if true background rending can’t be achieved, there should be an auto-render option (after a set idle time), partial rendering (if you cancel a render, keep everything that has been rendered up until that point), and more render options (e.g. render all and render selected). Regarding that last point, I think the whole work area concept should be dropped. It makes sense for other apps, particularly for animation, but it just gets in the way of more important timeline functions while offering little functionality beyond being a clumsy way to control the area to be rendered. At the very least, have a way to hide it.
Full-screen preview
Maximizing the program frame just isn’t the same (although the grave accent key function may be reason enough to switch to Premiere). Full-screen preview isn’t just a nifty function for demo-ing sequences. It’s a big part of the way I work.
DisplayPort/Thunderbolt out to HDMI
It may be that a third-party card is required for proper color correction on an external display, but there’s no reason this feature shouldn’t exist.
Thumbnail images/show frames bug
This one drives me crazy. I’ve tested this on 3 different Mac systems with various hardware configurations. Thumbnail images in the bins and frame images in the timeline seem to be recreated every time a project is opened, even though the thumbnail image files in the media cache folder don’t actually appear to get rewritten. It’s as if there is no cache at all (even for the most recently viewed bins and timelines segments). It can’t be an intentional functionality for saving hard drive space because the cache files continue to take up more and more space.
Open multiple projects simultaneously
I know that you can cut and paste between projects but being able to open multiple projects at the same time is a very useful feature of FCP7.
Magic Mouse/Magic Trackpad scrolling
Premiere Pro is a cross-platform system and impressively so, but there need to be a few Mac-specific interface adjustments, the most important of which is support for the Magic Mouse and Magic Trackpad scrolling. I use a Magic Mouse. (It’s an irritating device sometimes, but once you get used to it, it’s hard to live without it.) When I’m in a window, I expect a flick up or down to scroll up or down -- in every situation, every time, including the timeline. Unless I stop using all other Mac apps, I will never get accustomed to the timeline suddenly flying left or right when I want to scroll up or down. Also, here’s a chance for Adobe to fix a problem that FCP7 shared: When you scroll up or down in the effect control window using the mouse, the drop-down effect controls sometimes twirl all over the place if the mouse happens to float over them. As it is, it very easy to throw settings into random disarray without even realizing it just by scrolling through the pane.
The timeline: selection indication, icons, and general improvements
It is very difficult to discern at a glance what, if anything, is selected in the timeline. Transitions always look selected! Audio tracks should be a different color or otherwise more distinct. There should be an option to show frames only without any text. The icons for track options are small, crowded, and ugly. Some of the editing icons are too similar, namely edit and ripple edit, although the excellent status bar at the bottom of the application goes a long way towards making up for this. Simply put, the timeline could use some polish. Don’t be afraid to steal from Apple on this one. Keep the tracks; just make it easier on the eyes!
Conforming audio
The ability of CS5.5 to work natively with DSLR footage is awesome, but it’s not fully DSLR native if it has to pre-render a major component of the footage before it can play, even if it’s just the audio.
Media loading
When launching a project, it can take a long time for all the media in the project to “load” as tracked in the status bar. I’m sure there’s a reason for this, but since the program is able to determine which source media files are missing before this step (and gives you the option to reconnect them), what is it doing and why must it load every clip in the project, even those not in use by any sequences?
Page up/page down and arrow key commands
For starters, the current page up/page down key functions should take the CTI to the next cut in the sequence, not the next cut in the track that happens to be targeted, which can be way down timeline. In FCP7, I frequently navigated cut to cut with the up and down arrow keys. I’ve avoided customizing the keyboard commands to match FCP7 -- I would rather endure some hardship and learn the proper Adobe commands -- but this one is flat-out backwards. The page up/down keys should page through the timeline (left to right and right to left), while the up and down arrow keys should take over the clip to clip function (assuming the targeted track issue is fixed). Currently, the down arrow takes you to the very end of the timeline, a function already duplicated by and better suited for the “end” key.
Bin management and clip relationships
Deleting an item from a bin should not delete it from the timeline, but this is part of a bigger problem, which is the whole master file versus instance versus subclip versus dup clip thing. There aren’t any good indicators regarding the relationships of these clips, and there are few ways to adjust them. If clips are going to be connected, then they should be fully connected. For instance, changing the name of a clip in the bin should change it in the timeline. Adding an effect or trimming should affect the corresponding clips between bin and timeline. Otherwise, the clips should just be completely separate instances. I haven’t been able to find an option to turn a clip into an independent instance, although I have to think it exists. Also, editing an instance of a title does change every other instance of that title throughout the sequence. I would prefer to be able to edit them separately without having to duplicate them in the title editor.
Bin effects
Related to the above, it should be possible to add effects to clips in bins or keep effects on clips added to bin from timeline. It would also be nice to be able to group effects together in bins for a specific project. The effects window is better suited for global collections.
Clearer visual indicators that a clip has been adjusted in the effect controls panel
Even with the effects panel visible, you have to take a close look to see if there have been any adjustments to the standard settings. An indicator on the clip in the timeline itself would be useful.
Snapping should include the CTI
It should also include the blade tool, although the Cmd-K option to cut at the CTI position does make this less of an issue.
Smoother scrubbing
Scrubbing is pretty awful. While this is understandable with native footage, FCPX somehow manages to make this silky smooth at full resolution.
Color correction shape mask and better color correction in general
Simplify the primary functions of the 3-way color correction effect. Keep all the rarely used adjustments out of the way. I use Magic Bullet for some purpose, but I’ve always done most of my color correction within FCP. Put the most common adjustments front and center (or up top, as it may be). The highlights/mid-tone/shadows drop-down is inconsistent in what controls it pertains to.
FCPX’s color correction is actually one of its more underrated features. The way it allows you to layer corrections is dead-simple yet as powerful as anything in FCP7 or Premiere. Stick with the 3 wheels, but rely less on hard to control tonal ranges and add simple keyframe-able shape masks for secondary color correction.
Better support for shared media access
AVID is king in this arena and Adobe needs to improve. It should be possible for multiple editors to safely work on the same project files and share media over a server.
MINOR ISSUES
More vertically compact playback/edit control area in source and program panes
Make room for either a taller timeline or bigger previews. The virtual scrubber and shuttle controls are the nifty things you drag with the mouse the first time you ever use an NLE and never touch again.
Larger icons in icon view
Remember size and position of bin windows
Playback resolution setting indicator
There should be an always-visible indicator of the playback res setting in the preview pane that’s easy to adjust without right-clicking.
Better markers for sequences and clips
Include colors and more keyboard shortcut control.
Clip sliding with keyboard commands
“Opt-,” (that’s Option-comma) should cause a clip collision, not overwrite. Either that, or “,” and “.” should slide, while “Opt-,” should overwrite. Opt-arrow should only extend an adjoining clip if in the middle of two clips. Basically, this whole arrangement should be re-thought.
Project browser should auto refresh/sort.
Option-drag on a Mac should always be copy, not move.
Copy is currently command-drag in the project browser.
Stop auto-save from interrupting adjustments in timeline.
Ideally, the auto-save should just be a background function, but it should at least wait until you’re not in the middle of dragging something.
Add ability to select a cut directly and add default transition.
CTI control
If you move the CTI while it’s in play mode, it should continue to play from that spot after you release the mouse, not stop there.
Show number of frames being adjusted during keyframe adjustments.
Enable/disable specific effect parameters/keyframes.
Clearing an effect should clear keyframes as well.
Or have an option to clear both.
Position controls
There should be a preference to make the default position 0.0 x 0.0 (as opposed to 50% of whatever the resolution happens to be), and include a reset button.
Through-edit indicator in timeline
And a quick way to join clips, such as a right-click menu option.
Border controls for images
Auto save location preference and functionality
In FCP7 I set the number of auto saves to keep to the maximum of 100 and Premiere can go even higher. I have always used this feature as an additional backup and archive system, which has come in very handy. Those files add up, however. So, I prefer to auto-save to an external drive. Also, auto saves in Premiere continue to occur whenever there are unsaved changes. This means that if you make a small adjustment and then leave Premiere for a while, it will keep auto saving the same iteration, which is not only inefficient but leads to my next point….
Tame the bouncing dock icon on auto save
While using other apps, there’s no need for the dock icon to bounce every time Premiere performs an auto save.
More/clearer control over cache locations
There should also be an option to reset the cache/render file locations to their defaults.
Export source range
When exporting, remember the last-used setting of the export source range (or just dump the whole work area thing as I previously suggested). It’s too easy to cut off a portion of the video when the export defaults back to the work area every time.
Larger timecode display
After spending hours and hours editing, the current timecode for clips and sequences is something you want to be able to track without squinting. Use the letters h,m,s and f instead of colons.
Simple slug
Creating a black matte works okay, but it involves a few extra steps.
Snapping toggle
FCP allows you to quickly toggle snapping while dragging a clip. Upon releasing the clip, the snap toggle returns to its original state. Premiere could use this fucntion, but I suggest something simpler. Holding down the “S” key should always turn snapping on regardless of toggle state, while releasing it returns it to however it was set before.
Ability to dock the audio meters along top
I like to give my timeline as much horizontal space as possible. I’ve noticed a lot of users keep the toolbar up there, myself included. I think it would be a good place horizontally aligned audio meters as well.
More detailed tool tips or hover explanations in preferences
For example: The options regarding XMP data should make it clear that the original files will be modified by Premiere. This caused me problems in other applications. (After researching these settings, I understand that various Adobe applications use this information to share resources, but it’s still very unclear what the specific benefits are or what functions are lost without this option.)
More detailed support documents
The online support documents on the Adobe site very good. They are nicely arranged and easy to search, but they could be more detailed and offer fuller explanations. (Peruse the support forums and you will discover all kinds of debates that could have been easily cleared up with one concise line in a help document.)
Icons and button design
Icons and buttons are often too small, too similar, and too crowded throughout the interface. Take some style tips from Apple on this one.
NEW FEATURE WISH LIST
Footage auto-analysis: shot recognition, color correction, and color match
If only Apple had just added these features and others to the FCP7 framework. Adobe can do it better though, by using smart folders in addition to the traditional bins that we know and trust (anything besides those dreadful iMovie-style “events”).
Effect previews
In the 64-bit era, there has to be a quicker way to preview effects.
Ability to render in alternate formats
Namely ProRes or DNxHD. This would save me considerable time on exports by allowing me to select the “use preview files” option.
PluralEyes functionality
Okay, I suppose I should just purchase PluralEyes...again.
Many, many more effects!
How about starting with the missing vignette effect? Just because an app is “pro” doesn’t mean you should have to custom build every effect.
Many, many more looks!
Will most of them be cheesy looks I would never touch? Sure...but give me some templates to play with before I tweak the look down to my exact specifications.
More speed!
FCPX, for all its flaws, blazes on any modern Mac. This probably comes back to hardware acceleration, but while Premiere Pro on a Mac isn’t slow, it doesn’t blow you away.

You hit the nail on the head, Peter.
I recently started giving Premiere Pro CS5 a try, and was shocked by the amount of bugs and usability issues. I'm not even going as deep as you in the features, but the most glaring evidence of the lousy interface is that timecode offset bubble that appears everytime you move a clip in the timeline... the bugger appears just under your mouse pointer and won't go away, so if you try to just move a clip down a track quickly, and let go of the button ONTO the bubble, it acts as an obstacle and your drag/drop fails ! seriously, Adobe... don't tell me nobody has stumbled upon this one during beta-testing ?
Ditto on the autosave that basicly interrupts anything you're doing. No background saving in 2011 ? At first it bothered me to no end so I disabled the autosave. And then a few hours later, Premiere crashed, and didn't even try to recover my work. I lost 2 hours of intricate work. I put autosave back on, and learned to endure the constant, annoying save dialog. And it's not like the save process is instant... even the simplest of projects takes 5 to 10 seconds to save... on an SSD... come on... let me work already...
Of course, a headache-inducing implementation wouldn't be complete if the autosave didn't trigger even 30 seconds after a manual save. If I choose an interval of 5 minutes, just autosave 5 minutes after a manual save !
In thumbnail view, you can reorder the clips manually. It's all fine, but you can't reorder them by name or date or length, unless you switch to list view and of course, lose the thumbnails.
Dragging and dropping a clip in thumbnail view is a chore, because the palette doesn't scroll when the mouse reaches the edge. You know, when you want to move something at the top all the way to the bottom... so you have to drag, let go, scroll one screen, drag, let go, scroll one screen... it's a joke. Even the timeline can do it. Heck, it's a software standard, nowadays.
Renaming a clip and pressing ENTER takes you back to... the top of the folder !?! How many times I've renamed files that were at the end of the thumbnail view, and for each clip, I had to scroll back down. Time waster.
Want to locate a clip from the timeline, in the project ? the locate function takes you to the folder. But not to the file, you have to navigate towards it manually.
Ditto on the up/down arrows. I haven't found a way to jump from cut to cut like in FCP7. How often do I need to jump to the starting/ending points ? much less often than jumping to a nearby cut.
How come I can't reorder filters in the effects pane ? sorry, I can actually reorder the filters... provided I take them from the bottom and move them up. Moving effects down doesn't work. It's driving me crazy.
Conforming happens more or less anytime. Without reason. And even if the Media Cache is already full of conformed files.
When moving the boundaries of the work area, no timecode/offset appears. You need to let go of the button and THEN hover, then you'll know the exact time/duration.
Try scrolling up in the timeline, it scrolls to the left (which is stupid, it should scroll up). Now scroll up on the tabs of a palette : they scroll to the right !?!
Can't select an active track. Direct consequence : copy-pasting a clip overlaps anything that's on track 1. Say I want to duplicate clips on the same track... I can't do it.
Copy-pasting between projects doesn't keep the transitions, only the order of the clips.
Have you tried doing a frame freeze on a reversed clip and setting proper in/out points for the freeze ? Good luck.
"Duplicate" command, when you right click on a thumbnail, is way too far from the cut/copy/paste commands at the top, even though they're quite related.
The other day I transcoded footage with different audio parameters. Just the audio had changed. Upon opening the project, Premiere wanted me to locate the files, which I did. And it failed miserably. Instead, I opened the project ignoring the missing files, and then re-linked them. I pointed Premiere at the first missing file, and had to confirm the replacement. Premiere saw all the other missing files in that folder, and began prompting me FOR EACH SINGLE FILE !!! two hundred and forty three of them, precisely. Can't I have a "yes to all" button in 2012 ? and why does the relinking work inside the project and not when you open a project ?
That was just from 3 days with Premiere Pro CS5. I still can't believe it. Just to think people bashed Final Cut Pro X, praising Premiere in comparison... Sorry, but they both have serious issues. And Premiere doesn't even have the excuse of novelty.

Timecode offset

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