Announcements

We’ve taken a fresh look at the application, panel, and context menus across Premiere Pro and developed a new organizational system to bring editors all the same functionality in a more concise and discoverable way. Even on a 13-inch laptop, you’ll never have to scroll a menu to get your work done.   Our approach to organizing the menus: Aggressively organize into submenus. Commands stay in the same menu as before, but the submenus mean the menu stays short and readable. Give useful names to the new submenus. Editors new to Premiere Pro can more quickly learn what the menu items do. Be consistent when similar items appear in different menus. Whether in the Project or Timeline panel, common items like “Label” or “Media File Properties” appear in the same parts of menus.   Across the application, menus that were updated average a 40% reduction in height, with some menus shrinking by half.   This is a big change to the feel of using Premiere Pro, and while we took time an

We’re excited to release a new Smooth mode in Object mask to Beta which will let you create masks which handle fine edges better.  When creating an Object Mask, you can now choose between Sharp and Smooth modes to achieve the best results for your specific masking needs. What's new The new Smooth mode creates masks with softer edges that are better suited for fine edges and detailed objects. This enhancement allows you to handle complex masking scenarios more effectively without compromising quality. Sharp mode Smooth modeMask quality modes Sharp mode Sharp mode continues to create masks as they are currently created, with crisp, well-defined edges. This mode is ideal for: Objects with clear, distinct boundaries  Standard masking workflows Smooth mode Smooth mode creates masks with softer edges that provide superior handling of fine details. This mode is particularly useful for: Objects with intricate or delicate edges  Hair, fur, or fabric textures  Subjects with semi-transparent or t

We’re excited to introduce a powerful new tool in Premiere Pro Beta: Sequence Index – a smarter, faster way to navigate complex edits.   Built for professionals working with dense, multi-track sequences, Sequence Index provides a comprehensive, spreadsheet-style view of all assets and attributes in a sequence. Whether you're trying to locate specific clips, identify flash frames, or filter for clips with effects or speed changes, this new feature makes it dramatically easier to search, sort, and troubleshoot your timeline. Why this matters Today, searching for specific clips or effects in long timelines is a manual, time-consuming process. There’s no simple way to surface offline media, spot transitions, identify what effects are used where, or track down issues without scanning every edit. With Sequence Index, we’re removing that friction, giving you an interactive, sortable table of your entire sequence that updates in real time as you edit. What you can do with it View every c

Premiere Pro Beta has support for Open Timeline IO interchage format (OTIO). Our current implementation includes the basic information for interchange with other products that support the OTIO standard:   names cutlist with clips at correct place in sequence source in/out durations starting timecode and timecode formats fps multiple tracks track names linear speed sequence markers (start time, duration, name, color)   Premiere Pro's OTIO support includes Premiere round-tripping information as well:   clip markers (start time, duration, comments, name, color). Seqence frame size Sequence sample rate   When importing OTIO files created outside of Premiere Pro, some sequence settings may not transfer automatically and will require manual adjustment.   To export a sequence to OTIO, go to File menu/Export/OpenTimelineIO. To import an OTIO sequence, go to File menu/Import or use the Media Browser.     Please give OTIO Import and Export a try and l

Dear users,    Beginning in the public beta version releasing on Wednedsay, August 14th, we’ll be making a minor change to how muting is handled in the effects control panel to simplify the process.    In the Effects Controls panel, you will no longer have 2 ways to bypass keyframes on the Volume effect. The fx button behavior is unchanged. The control formerly called “Bypass” has been replaced with “Mute,” which will make the audio silent. If you were using “Bypass” in an existing project, you will need to switch to use the Fx button instead, otherwise your audio will be silent.    If you wish to bypass your volume keyframes in the future, simply press the “fx” button on the left.    In addition, in cases where Mute was activated via the Essential Sound Panel, and then individual channels altered, the Mute button in the Essential Sound Panel will no longer be checked. The mute effect will now be applied through the Effects Control Panel.  &

We’re excited to announce that you can now view audio waveforms and video playback simultaneously in the Source Monitor in Premiere Pro (Beta)!    This highly requested feature (739 upvotes in the Adobe Community!!!) helps editors save time and tell better stories by making it easier to line up audio cues with video. Whether you’re cutting interviews, syncing dialogue, or finessing sound design, you can now see audio and video tracks together, allowing you to edit with greater precision and efficiency.      What You Can Do with Audio + Video Waveforms  Toggle to show both audio waveform and video playback at the same time  Scrub through media while monitoring both visual and audio tracks  Set In/Out points as usual   Add and move markers with full A/V visibility  Works seamlessly with multiple audio channels    Why It Matters  Previously, users had to switch between video view and waveform view in the Source Mo

In version v25.1 or earlier of Premiere Pro, After Effects, and Media Encoder, video formats that are hardware accelerated by previous generations of NVIDIA GPUs are already hardware accelerated by NVIDIA’s new Blackwell Architecture GPUs. No update to our applications is required.     Now in beta is support for an exciting new feature, unique to NVIDIA Blackwell GPUs: hardware acceleration of 10-bit 4:2:2 media in both H.264 and HEVC codecs.     These formats combine small file size and great quality, and now with hardware acceleration from Blackwell, great performance.     Please note:   Hardware acceleration is available for H.264 & HEVC 10-bit 4:2:2 media in the MP4 and MOV containers. Support for MXF media will be coming later this year.   Full-range files are currently being decoded as limited range files. This is a bug that will be fixed in an upcoming beta.     If you’re a Windows customer with a B

We’re excited to push an early development preview of new masking workflows to Premiere Pro (beta).  Whether you are color grading, applying effects, or cutting objects out from the background, these new masking tools are built to help editors work faster, smarter, and more creatively without needing to go to After Effects for simple tasks.   Note: This beta is an early look at upcoming Premiere Pro workflows and is not intended to reflect general availability performance or polish. Please contact us with bugs, feedback, and feature requests to improve these features.   Object Mask – Automatically identify objects and people in your footage using AI and isolate them with a single click. Plus mask refinement tools and fast tracking throughout clips. Redesigned Shape Masks – the traditional shape mask tools (ellipse, rectangle, pen) have been rebuilt from the ground up with many performance and UI improvements. Faster Shape Mask Tracking – the tracking algorithm has been

Hey, beta users!    Starting today, October 24, Premiere Pro betas will switch from v25.6 to the next major version, v26. We make this switch once a year, when we get close to shipping the last dot release of a major version and move to the beta of the next major version.    Premiere Pro will guide you through the project upgrade and automatically version the project file. Unless you specifically save over the original file, you will have a backup. As with previous major version changes, Premiere Pro projects saved in v26 cannot be opened in earlier versions of Premiere Pro, including the shipping version (v25.5 at the time of this post). This means that a project opened and saved in the v26 beta cannot be moved back to the shipping version.    It is also required to have v26 of After Effects and Media Encoder to make use of Dynamic Link.  It's recommended that all three be updated at the same time.   As always, we recommend that you d

Hey everyone! We are excited to share that Global and Contextual Audio Mute is now available in Premiere Beta (Build 36). This has been a long standing request from many of you, and we are finally bringing it to life.What’s New? With Global Mute you now have full control over how and when Premiere plays audio. You can mute the entire application or mute only the Program Monitor or Source Monitor depending on your workflow.     Where to find it There are multiple ways to access these new mute controls: Transport ControlsYou will find a mute button directly in the transport bar of both the Program Monitor and the Source Monitor. The icon clearly shows mute and unmute states, and it works together with the contextual meters of your active sequence or clip. When mute is enabled, the contextual meters will gray out to give you an extra visual confirmation of the mute state.       Universal Header BarWe have also added a mute control in the Universal Header Bar. This

 We will update our system requirements with the next major release of our video applications. This includes the 26.0 versions of After Effects, Audition, Character Animator, Media Encoder, and Premiere Pro.    We update our system requirements each year, which allows Premiere to take full advantage of these platforms and helps ensure optimal performance for you.     Minimum macOS Requirements:  macOS Sonoma (version 14) or later.     We recommend running our applications on the latest operating systems:  macOS 26 Tahoe (version 26.1)      Please note that support for macOS Ventura (version 13) is discontinued. It will not be possible to install the 26.0 versions of our video applications on macOS 13 or older.     

We’re excited to announce that support for Nikon’s N-RAW format is now in beta for Premiere Pro, as well as After Effects, Media Encoder, and Audition. Support for N-RAW was added via the RED SDK, which means that customers will modify N-RAW settings via Effect Controls > RED Source Settings.    Support for N-RAW, including hardware acceleration, is available on Apple silicon computers and Windows computers with CUDA and OpenCL support. N-RAW will not be supported on Macintosh Intel computers.    We’ve love to get your feedback on this update!

We’re excited to announce a major update to our Content Credentials workflow in Premiere on desktop and Media Encoder. You can now use Content Credentials to add your identity to your work, helping you safeguard your creativity and build trust with your audience. What’s New? Sign your work with your verified name: Attach your real identity to your content, so viewers know it’s authentically yours. (requires a verified LinkedIn profile) Connect your social accounts: Link your social media profiles to your output, making it easier for your audience to find and follow you and your work. Ask generative AI models not to use your content: After adding your name or social accounts, you can request that generative AI models not use your content for training, helping to prevent creative theft. Participating models respect the “Do Not Train AI” request, but not all AI systems may comply.         Premiere and Media Encoder can use your preferences from the Adobe Content Aut

We’re excited to announce that support for the RED R3D NE raw format — used by the Nikon ZR camera — is now available in beta for Premiere Pro, as well as After Effects, Media Encoder, and Audition.   Support for R3D NE, including hardware acceleration, is available on Apple silicon systems and on Windows computers with CUDA or OpenCL support. R3D NE is not supported on Intel-based Macs.   Note: The Nikon ZR supports 32-bit float audio recording, on both external microphones and the camera's internal microphone. Premiere Pro does support 32-bit float audio files but does not correctly display audio waveforms that are above 0 dB. This means that lowering the volume on a file with clipped audio will improve the sound quality but the change will not be reflected accurately in the file's audio waveform. Audition does correctly display 32-bit float audio waveforms.    We’d love to get your feedback on this update!

Now you can start editing on your iPhone with the Premiere iPhone app and then continue in Premiere Pro on desktop. This new workflow connects mobile and desktop editing, giving you flexibility to shoot and edit on the go while still having access to all the professional tools in Premiere Pro.    How can you try it? You can apply to test the new Premiere on iPhone by filling out this survey. You can also pre-order Premiere on iPhone on the App Store.    Adobe Premiere on iPhoneNext-level editing. Now in the palm of your hand. Quickly turn any idea into attention-grabbing content with amazing creative control, unique audio tools, and generative AI — and take your creativity on the go with Premiere on iPhone.    How does the workflow between Premiere on iOS and Premiere Pro work?   1.  In Premiere on iPhone, go to Export:    2. Select the Premiere desktop (Beta) Tab and tap Send.    3. Open Premiere Pro Beta (or if you al

The Premiere Pro Team is excited to introduce a new Beta feature: Video Transition Handles.This update makes it faster and more intuitive to create and edit transitions directly on video clips, just like you already can with audio. Video Fade Handles allow users to control the transition duration directly from the timeline, providing a way to create and modify the timing of transitions. Key Enhancement Drag the new handles at clip edges in the timeline to quickly fade video clips in or out. The handle appears directly on each clip, showing transition length instantly for one or multiple clips.                                                     More Control with Transitions Want to use your favorite transitions on the video fade handles? No problem.Video Fade Handles respect your default transition defaults, meaning the transtion will automatically use the tran

We are excited to announce the public beta release of Windows on ARM native support in Premiere Pro! We expect Premiere Pro to run on all Windows computers that are using Qualcomm Snapdragon X Series ARM architecture-based processors. Some features of Premiere Pro on Windows Intel systems will not be available when using Premiere Pro on Windows ARM, either in beta or in the final release. These features are: Loudness Radar effect (Loudness Meter is a replacement for Loudness Radar) Export to Wraptor DCP Import and export of the GoPro CineForm codec Export to the P2 Movie format Some features of Premiere Pro on Windows Intel systems are not currently available in the beta of Premiere Pro on Windows ARM but will be available in a future release. These features include: Support for 3rd party extensions (including plugins and audio plugins) Support for ProRes Import and export Using ProRes for proxies, render & replace, or as a sequence setting video preview option; see below for

We’ve made several improvements to the Link Media process in Premiere Pro. You’ll typically see the Link Media dialog when you open a project and Premiere Pro can’t find some of your assets.   What’s new New “Apply” button: You can now apply the changes you’ve made and continue opening your project — without having to relink every missing file or cancel your progress. Right-click options: Right-click one or more files to access Locate, Offline, and Reset commands, giving you more granular control over relinking. Bug fixes We’ve also fixed several issues that could slow down relinking or force you to go through the locate process multiple times, even when all the missing files are in the same folder path. Try it out We’d love your feedback. If you have a project where relinking has been frustrating in the past, please test these updates and let us know if the experience has improved. Thanks! Fergus

Hi all,   Our friends at Nikon recently released a set of LUTs for converting N-RAW footage from one log format to another. These LUTs have a very specific purpose, which we thought would be helpful to clarify here.   In short, the conversion LUTs are only needed in two cases: You’re using Nikon’s RED LUTs designed for N-Log, or You’re using a custom LUT created for N-Log.   Those creative LUTs expect the source footage to be in the Rec.2020 color space with N-Log gamma, since that’s how Nikon designed them.   However, Premiere Pro uses RED’s R3D SDK to process R3D, R3D NE, and N-RAW files, and that SDK does not support Rec.2020 or N-Log. Instead, it processes all three formats into REDWideGamutRGB color space with Log3G10 gamma.   That’s actually a good thing. For example, REDWideGamutRGB covers a wider gamut than Rec.2020, and Log3G10 offers smoother highlight roll-off and excellent dynamic range handling.   If you want to get the creative look of

The Premiere Pro Team is excited to introduce a new Beta feature: Ripple Edit Live Feedback. This enhancement brings real-time visual feedback to ripple edits, allowing editors to instantly see how their changes affect the timeline as they work. By making ripple edits more transparent and intuitive, this feature helps streamline workflows, reduce errors, and improve sync across complex edits.   Key Enhancement: Ripple Edit Live FeedbackWatch the timeline update dynamically as you perform ripple edits. Whether you're trimming clips or shifting content downstream, changes are reflected in real time. This eliminates guesswork and reduces the need to scrub back and forth.   Why It Matters: Provides immediate visual confirmation of ripple edit impact. Helps maintain sync and rhythm across edits. Reduces the need for backtracking or rechecking. Makes the editing process faster, more precise, and more intuitive.   Try It OutThis feature is available in the latest Beta build. Jump

We’re excited to announce that Advanced Filtering is now available in the Premiere Pro Search Panel in public beta!   Advanced filtering allows you to refine your search results with precision by applying filters based on metadata. Whether you’re working with hundreds of clips or trying to track down that one perfect shot, Advanced Filtering helps you zero in faster.     With Advanced Filtering, you can: Add metadata-based rules (e.g. File Type, Frame Rate, Status, Audio/Video, Label Color) Stack up to 8 different filters to combine search criteria Save time by surfacing only what’s relevant to your current task     This builds on the core Search Panel by giving you even more control over how you navigate and organize your media—no more digging through bins or relying on naming conventions alone.   Example Use Cases: Search for all offline video clips with a green label Filter down to audio-only assets with a specific keyword in the name Refine result

We have heard your feedback: Those of you that have your own transcripts, already complete with proper spelling and punctuation, or in a language we don’t support, don’t want to re-transcribe using Premiere’s Speech to Text feature just so you can use captioning and Text-Based Editing.   Captioning and Text-Based Editing requires Premiere Pro to have timecodes for every word. We are publishing a JSON spec format that supports word-level timecode for captioning and Text-Based Editing. Developers can now build support for exporting to this spec, or write scripts to translate from other transcript formats to this JSON spec. (JSON spec is attached to this post.)   Guidance for non-developers While developers are adding support for this new format to their transcription tools, we’ve found that modern LLMs can do an excellent job of converting existing transcripts into this JSON format. Every LLM is different and their capabilities are always changing, so this advice is generalized