To correct my question: not scrub, but play clips at 1.5x or 2x speed.

Hmm. I just read that in the article above.

Part of editing is emotional connection to the content. Munchkin voice while seeking diminishes my connection to the material. Imagine you are reading a mystery novel and you're getting to the best part, and a character's name comes up, and you flip back a few pages to remember who the character is... But as you flip, someone reads to you like they have been sucking helium. Kind of ruins the mood.

Those of us who came over from Avid and FCP are used to fast playback without a pitch-shift. It might be accomplished by skipping through bits of audio or by applying a pitch-shift to lower... the pitch. How ever it is accomplished, the result is that you can scan and search footage without being destracted.

I used to edit on flatbed, probably before you were editing on tape. Does that make me an old time linear guy? I like this new thingy called a computer... and like that the software keeps getting better, and that editing changes as time goes by. One positive technical advancement is keeping the chipmunks out of the edit suite.

Thanks for the link. I made the request. FYI, actually, a flatbed is a device we used to use to edit film

Hi! How can I match a frame the other direction, from Source Monitor back to Timeline? In other words, I click on a Clip Instance in Timeline to open it in Source Monitor, then find a specific frame in the Source Monitor, and I want the playhead in Timeline to point to that frame. In FCP there is a button for that; I can't seem to find an equivalent in PP. Help please - Thanks!

You could  right click you video in the timeline and and increase the playspeed and click the "maintain audio pitch" button. This will speed playback up but keep the audio pitch just fine.

It is more usual to edit to  the Program. ( ie. build a Timeline)

Why do you locate a Source frame and need to relate that to the timeline?

Just asking.

There are many cases where it's much easier to find an editing point in the Source Monitor than in Timeline. For example, if there are multiple video tracks, and I want to find a particular frame on Track 1. I can't see Track 1 video in the Timeline display panel unless I click off the other video tracks or something like that. But if I bring that clip into the Source Monitor, I can easily find the frame there and (on FCP) match it back to the Timeline with one button click.

Or, if I want to find a particular point in an audio track. If I bring that clip into the Source Monitor and display it in Waveform (which is just a tab click in FCP, but is in a menu in PP), I can find the exact point much easier, since I have the Waveform as reference, can scrub much better than in Timeline, and don't have other audio tracks interfering.

When I worked in FCP, I considered the Timeline where I arrange the clips, and Source Monitor (or Viewer) where I work on the individual clips (or "clip instances"). That's very helpful when the Timeline is displaying a long, multi-track sequence. I'm disappointed to lose that ability in PP - unless there is a workaround of some sort...

WOW!! That's great!! It took me a little while to find "Gang Source and Program Monitors" - for some reason it's not in the Help at all - but yes, this is an acceptable workaround! I assigned it shorcut key "G", which is conveniently next to "F", so now I can "connect" the two again! It's not the same process as how I did it in FCP, but I can achieve the same result. The funny thing is that I have to do "G" right after I do "F" to bring the clip into Source Monitor. If I move the playhead in Source Monitor first and then do "G", the playhead in Timeline will start moving together with the playhead in Source Monitor but they will stay off-sync, which makes it useless. ALSO, double-click on a clip in Timeline doesn't typically bring up the same frame in Source Monitor, even if the playhead is in the clip - the very first time it does but later on the playhead in Source Monitor just goes to where it was last - so if I want to do any "G" work, I have to start with using "F", which has its own quirks in terms of which clip it brings up (NOT necessarily the currently selected clip, even if the playhead is within it). Did all that make sense?? Yeah, it was a lot of behavior patterns to figure out, especially since the Help is not much help...

Gee, I feel a little pathetic that I am so excited over such a tenuous and problematic workaround, but I will take it... It was a major aspect of my workflow in FCP and it would be very frustrating to give it up in PP. Thank you, shooternz :-)

Glad it worked for you.

I also use G as the shortcut key.

Yes ..you must Gang immediately if you want frame relating to frame.  (Sometimes it might be helpful to use an offset though).

I guess you worked out which Ganging to shortcut to.

Tip. If your clip in the timeline is buried under other video layers..you may need to un target the tracks above so that Match Frame works on the clip of choice.

Jim - The playhead in Timeline will stay within the clip when the playhead in Source goes out of bound. And it will start moving again (correctly) when the playhead in Source comes back in bound. That part is actually quite neat.

Is there a way to advance one FIELD at a time rather than a whole video frame?  I wish to examine the pulldown of a telecine master.

Interesting. How do you choose which field you see?