Adobe's doesn't typically make known it's future plans.
Yeah, that's true. At least i'll go and fill a feature request. Adobe usually says that their new product is based on user requests. I wonder who are these users?
In my memory none of my submitted requests since CS5 were implemented
I wonder who are these users?
My guess would be FCP users. If you ain't one of them...
That may be partially true, but not entirely. I know for a fact that some of the things I have requested have been implemented. Not because I asked for them, but because a lot of people did. I have also received emails from Adobe employees saying "Great Request! I want that too. I will make sure it gets on the list."
I have also received emails telling me I am not the only one asking and I should feel free to read between the lines.
I'm just saying that if you have a great request that they also want - remember they can't just automatically add stuff they want for themselves just because they are users also - you might get fast tracked. Or if you are one of many, you have a good chance at seeing it happen.
In this case, keep in mind that Camera RAW just became a filter in Photoshop recently. It is an amazing and extremely welcome development, but it is new. If we mounted a campaign to get it into Premiere Pro, and got enough users behind it, perhaps we could get it done. In order to do that, we would probably have to make some amazing videos using Photoshop to do the job, post them, and then get people excited by the possibilities. As it stands, most of the Premiere Pro users have no idea what I am talking about. Why would they unless they are also photographers? I would not have known if it had appeared this time last year - before I bought my GH3.
Everything you can do in Camera RAW you can do other ways as far as I can tell, but Camera RAW makes it so easy it is obvious to me that you are correct in asking for it in Premiere Pro. I haven't used it much, so I have not experienced the speed issues. I will see what I can do to play around with it over the next few days and see if I can determine a faster workflow. My guess is that you start with Camera RAW, open it in Ae and use Dynamic link to put it into Premiere Pro, but that is just a guess.It might require the use of a digital intermediate. Put the entire clip into Photoshop, change the settings and go to bed. Wake up in the AM and export. Let's see if we can experiment a little - everyone can help.
Yeah, you can do almost everything in Premiere. But you would require like 5-6 plugins at once to do that with sluggish preview as you move one slider or another. And when you have to adjust like 150 clips that way this will turn your life into nightmare. Also some users can say that Three Way Color Corrector is great. They just don't know the difference in quality if to compare the result side by side. So if Adobe has such a great technology as Camera RAW why shouldn't i (we) use it?
With just a couple of mouse move you can fix White Balance (like it was shot correctly), reduce highlights, add some unseen shadow detail, reduce noise, remove chromatic abberation, add sharpness and detail. And that's all with optical-like "in camera" quality and ultra easy interface. While you can spend half hour turning wheels in Three Way Color Corrector and get a bad, unnatural result after all.
That's why i get compliments about a color in my projects where ACR was used (even with 8bit H264 footage). The only bad thing right now is a workflow (PR->PS->PR) and sometimes flicker (since currently it's a photo processor and it treats every frame individually. They should implement a switch to disable that btw)
Dynamic link is great for true RAW 10/12/14/16bit (not H264) workflow with MOV PRORES/Photo JPEG proxies in premiere and RAW footage in AE. You can link them together using one big "Nested" sequence, disable RAW layer and cut everyning with great speed. When approved by client, you just enable RAW linked layer, make Camera Raw adjusments in AE and export final version in PR.
If you have some seriously nice footage that you have adjusted with Camera RAW as a filter in Photoshop, you might want to make some of it available as a side by side showing of what can be done.
The Premiere Pro users who are not aware of what you are talking about would all be asking for it as soon as they saw the ease of use.
If you can't share any footage, perhaps you could shoot some with this in mind. I haven't tried this yet, but I have seen demos.
Totally in favor of ACR plug in for Premier Pro!! That would be a game changer for me -- (I'd been thinking about migrating to FCP). Stumbled upon the Adobe PP->PS/ACR work flow when I was presented with some footage that had a chuck of sensor dust in the middle of the shot. Photoshop provided the best, most natural fix via clone stamp (albeit frame-by-frame)... and I just happened to try out the Camera Raw filter on the finished clip. Makes the exported file enormous... but yes, the best, most intuitive, quickest correction by far. Export artifacts are not pretty though. YES, this filter needs to live as native effect inside Premier. Asap, please, Adobe?