- April 16, 2015 at 7:53 pm
Matchframe does exist in premiere.
From Adobe Site:
Match a frame with its source
While editing in a Timeline panel, you can find the source frame for any frame in a sequence clip and display it in the Source Monitor. Also, you can find the source frame for any frame in a nested sequence, display it in the Source Monitor, and jump to its location in the source sequence.
Click the header of the track where the sequence clip is located, to target the track.
If more than one track is targeted, Premiere Pro will match the frame in the highest targeted track.
In a Timeline panel, position the playhead over the desired frame in a clip.
If the source clip for the frame in the sequence clip is already open in the Source Monitor or listed in the Source menu, the Source Monitor will display the last frame you viewed in the clip. To match the frame, close the clip in the Source Monitor before typing the Match Frame or Reveal Nested Sequence keyboard shortcut.
Do one of the following:
Press the F key.
Choose Sequence > Match Frame.
For a clip in a nested sequence, type the keyboard shortcut for Reveal Nested Sequence, Ctrl-Shift-T (Windows), or Shift-T (Mac OS) by default.
Basically, you can do this in premiere. Unfortunately they are still working on the “Reverse Match Frame” or the logical reversal of this function. It will let you currently see where in a source clip you are at a particular frame, so set the frame to the first frame of your clip, do a match frame, write the frame timecode down, do it again for the end frame. Now you can use those to create your desired sub clip, which premiere sees as it’s own clip. Some ask why this is useful, and I may agree with that on some levels, but, ultimately, I like having sub clips I can render out independently of my source and main sequence. When I need just a short teaser or even a highlight reel, the source clips can be uber useful if they’re properly named and organized. Better still… …the GAG reel… A million laughs when I catch an intern or some no name picking their nose just before or after a shoot.
- December 11, 2019 at 5:35 pm
Was just trying to figure out how to do this in CC2020 and read your suggestion here. FYI, in case anyone is wondering, this feature DOES WORK in CC2020 (and probably earlier versions?). Hit F in the timeline to matchframe to the subclip and then hit F again in the source window to matchframe to the source clip. Thanks!!
- August 24, 2020 at 4:10 pm
So, I’ve been using APP since December and I the match frame button from Avid is something I do sorely miss. I am not finding hitting the F button twice gets me to my source clip. But then again, my subclips are created by dragging them out rather than using the “create subclip” function and (unnecessarily) restricts the in & out points unless you go through the tedious process of unlocking it.
I think the original reason for query is being ignored. Sometimes you need to find the original clip you worked with in your project window. Yes, hitting F in the timeline loads the master clip with your original in & out points from the subclip you made. But choosing to reveal in project only shows you the subclip. Even if you hit F multiple times…you only get pointed to the subclip. There are times you want to reveal the original clip. And the only way to do that is, again, tedious – by searching for the same clip name in the project.
- September 22, 2020 at 10:19 pm
The steps are: F in the timeline on the subclip, then select the source panel (not project files but where they are previewed and clipped etc) and F again, which will match the frame of the source of frames (subclip) and show in source panel, then match source of source panel to file it originated in. Subs on subs means you could be doing this a long while, matching frame through a longer list. Thats why logging is so important. It lets you name original long files in short fashion, then add meaningful adjustments to the name of a subclip. By adding onto a short name in short fashion, subs of subs gets easier. Now the original is the shortest name, and subs are easy to find, along with subs of subs. In a name sorted list they will all line up sub next to step-up source. It’s a bit OCD, but it’s why my first operation is always the ingest/log-transport, no matter who or what i work on. Then, any oddities of the NLE are less likely to stop production, even if they slow it a step or two. Thats all built into my pricing also. Add 4 hours to how long a few hours project will take, and a day for a single days project, and at least half a week for a week-long project. Old star trek engineers wisdom–never tell them exactly how long it’ll really take if you want a reputation as a miracle worker. Also, it may buy you the extra time to get around a sudden issue.
Premiere doesnt house data the same way as other apps. It forces you to take the time to define your processing in more data-logical rather than emotional-logical terms, more like breaking down the process of being up to batt so you can control your swing and play better offense instead of swinging and praying it makes it over the fence somwhere. Both batters are very necessary but for different play-styles or different strategic points of the same wholistic stragety, like moneyball. Together, they also make the game more exciting and immersive.
For the more “log and transport” or OCD type person who plans out edits in stages, the stop-go step by step way helps keep their overly reasoned structure clear, reduces nervousness and allows them to bring more emotion into their work that completes the clarity of the message. If you are more of a cut it all on the fly, or your work demands it that style, premiere may seem a little bit of a shock or like an elastic band that pulls you back as you try to stretch into the work. Dont worry, some work is that way (take your common style, “that way” refers to its opposite) even if the editor person isnt; we try to adapt, and when we do, we learn, and we grow our skillset. Thats how new or Avante Garde styles are born.
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