Announcements

We added the ability to swap sequence dimensions in one click so you can quickly change a horizontal sequence to a vertical.  It’s soooo simple and soooo obvious we just did it.  Sometimes it’s the small things!                                               Changing a 16:9 sequence to be 9:16 for posting on the socials is a pretty common thing, it turns out, and manually typing in 1080 x 1920 (or whatever the resolution is) is slow and prone to error and it just feels like there should be a better way.  So, we added a simple button to swap the vertical and horizontal resolutions.  That’s all it does.  It doesn’t run auto-reframe or reposition your content.  It just changes the sequence dimensions.  Make sure your sequence is in focus or selected in the project panel, then go to Sequence > Sequence settings. This idea was brought to our attention by @davethegreko. Thanks Dave! Check out his video on instagram We want to know what you think.  Please join the conversation below.

​A boom mic sneaking into the shot. A light stand that missed its cue to leave. That background distraction you didn’t notice until you started editing. We’ve all been there—and fixing it can take a lot more work than spotting it.Meet Generative Remove, now available in Premiere (beta). Mask the object you want gone, and Generative Remove fills only the selected area—everything outside your mask stays unchanged. It’s non-destructive, too: your original footage is preserved, so you can experiment, generate again, or revert to the original at any time.From “we’ll fix it in post” to actually fixing itGenerative Remove builds on Premiere’s masking and tracking tools to help you clean up your shots without breaking your editing flow.Choose what goes: Create and track a mask around an unwanted object to control the removal. Keep editing: Removal processes in the background, so you can continue working while your result generates. Try another take: Generate again or adjust your mask and retry

Beta versions of Premiere, After Effects, and Media Encoder now provide dramatically improved support for X-OCN, Sony’s compressed raw format. This update includes:Hardware acceleration of X-OCN for faster playback and export on macOS and Windows Expanded source controls via Effect Controls > Source and the Properties panel, where you can now view and modify X-OCN attributes, including: Color Space ISO  Exposure  Exposure Index  Color Temperature Tint Sharpness In-Camera VFX settings for customers using virtual production: LED Wall Color Temperature Light Blend Already in beta is support for the new X-OCN variants for the Sony FX5: X-OCN C1 and X-OCN C2. (Adobe’s video applications already support the other X-OCN variants: XT, ST, and LT.)Other things to be aware of:Rec. 709 has been removed from Source Settings > Color Space. In the current, shipping version of Premiere, there is an option in X-OCN Source Settings to convert X-OCN footage to Rec. 709. Using this opti

As you saw in my earlier post about text panel enhancements, transcripts are becoming more central in editing workflows. Starting today in Premiere Pro (Beta) you can create rough cut edits from selected Text passages.   To start, you can generate transcripts of your footage in the background when you import your media. Alternatively, you can generate transcripts from the Text panel after your project has been created. Either way, the Sequence transcript panel dynamically syncs with your Timeline: as you make changes in your Sequence transcript, the Timeline will reflect your changes – and vice versa.   My colleagues and I created some starter footage for you, as well as a tutorial so you can try it out. If you tend to do all of your editing in a Sequence, follow the guidelines below and/or watch this tutorial. If you tend to do three-point (Source) editing, follow the guidelines below and/or watch this tutorial.   Sequence Editing Workflow Download the four v

Hi everyone! As a dialogue editor, I've always chased the same thing: the tool that gets me the best-sounding result in the least amount of time, and the most control over my dialogue, whether I recorded it myself or it came back from set in whatever shape it happened to be in.For years, the answer meant reaching for a few different tools. One to make the voice sound better, another to wrestle down the background noise. And production audio is never just "speech." There's ambience, there's music, there are effects, all baked into the same recording, and that's exactly what makes cleaning it up so hard.This is where Enhance Audio comes to shine. In the same spirit as what we showed at MAX Sneaks last year, it hands you control over the ambience, the music, the sound effects, and the dialogue, and lets you rebalance every stem as much as you need. That's what makes it one of the most powerful noise reduction tools in Premiere today.For a couple of years now, the one thing you've told us

We added the ability to hide the on-clip fade/transition handles.  Find this setting in the “timeline display settings” wrench menu.  You have independent control over video and audio fade handles.  If you find that turning them on an off is a common occurrence, keyboard shortcuts may be assigned as well.The on-clip fade handles make it easier to create audio fades and video cross-dissolves and can greatly speed up your editing.  But for some users they get in the way of basic editing functions like trimming and moving clips.  If you are one of these people for whom the fade handles are more of a hindrance than a help, we now allow you to turn them off. Just in case you didn’t know, you can customize the look and feel of your sequence in many ways in this menu.  We want to know what you think.  Please join the conversation below.

Hey everyone!We are excited to share a new feature in Text-Based Editing: Paper Edit. It is in build 34 of Premiere Beta. Many of you have asked for the ability to highlight multiple sections of a transcript and preview them before creating a new sequence.Here’s how it works:Start from a single Source Clip or an existing Sequence. Click the Paper Edit button  Highlight what you want to keep. When you click into Paper Edit mode, you can read through your transcript and highlight the sections you want to use. Before you commit anything to a sequence, select “Preview.” This allows you to playback the selections and make changes. Click on a selection to omit it. If something doesn’t sound good in your preview, just remove it by clicking on the text. Jump between sections in long sequences. If your raw footage is long, you can quickly jump between sections instead of scrolling endlessly.We would love to hear what you think! Give Paper Edit a spin and let us know if there is anything we can

Hey everyone! One of the oldest, most persistent things you've asked us for just landed in Premiere Beta 27.0 (Build 29): New Audio Stretching Modes.Here's the pain we're finally going after. If you've ever needed to re-time a line of dialogue or pull a music bed to fit, you know the drill. You change the speed or duration in Premiere, listen back, and it sounds like a chipmunk or a robot. So you give up, round-trip the clip out to Audition, get a clean render over there, and bring it back. Every single time. That detour has been the default for years, and it breaks your flow for what should be a two-second edit.This changes that. We're introducing new stretching modes that hold pitch through speed and duration changes without the artifacts and the processed, robotic quality you get today. Re-time the clip, keep the pitch, keep the character, and stay on your timeline the whole time.What's New?You now get a choice of stretching modes right inside the Speed/Duration workflow you already

Hey everyone! We're excited to share a new addition that just landed in Premiere Beta 26.5.0 Build 66: iXML metadata right in your audio clip headers and source monitor. Production sound carries a wealth of metadata, and now you can see it without leaving the timeline or the source monitor.What's New?When your audio has iXML metadata, Premiere now surfaces it directly on the clip header. No more digging through panels or cross-referencing sound reports to know what you're looking at. The same metadata shows up in the source monitor too, displayed at the level of the channel labels, so you can make sorting and selection decisions before a clip ever hits your sequence. It's a global setting, so once you turn it on, it applies in the timeline and the source monitor.Where to find itThe control lives in Settings > Media, under a preference called Show iXML metadata in audio clip headers and source monitor. Flip it on to display the metadata across the timeline and source monitor and flip

Hey everyone! A new quality of life feature just landed in Premiere Beta 27.0 Build 39: color labels for timeline track headers. If you've ever wanted an at-a-glance way to tell your tracks apart on a busy timeline, this is for you.What's New?You can now assign a color label directly to any track header, video, audio, or caption track. It works just like clip labels: pick from any of your project's 16 label colors and apply it to the track itself. This colors just the track header, not the clips sitting on that track, so your timeline stays readable without re-labeling everything on it. Where to find itRight-click any timeline track header and choose a color label from your project's label colors. Click the swatch to toggle it off if you want the track back to no color, and click again to reapply a color. Track Header right-clic menuClick the swatch to toggle it off Why this mattersOn a timeline with a lot of tracks, it's easy to lose track of which is which, especially once you're jug

Hey everyone, A few updates are landing in Object Masking ahead of the next release. Here's what's changing.  Choose your tracking quality: Better Quality vs. Faster Today, tracking runs on a model which is tuned for speed. It does a solid job in the common case, but mask detail is capped by its resolution, and it can also lose the subject in longer clips and through occlusion. We've built a new tracking model to close both of those gaps. Better Quality tracks at a higher mask resolution than Faster, which shows up as real gains in mask detail and edge quality, especially on hair, fur, and fine edges. It also adds long-term memory, which should meaningfully help tracking hold onto the subject through occlusion and in longer clips. The tradeoff: the higher resolution makes Better Quality slower, noticeably so on some systems. So we're giving you the choice to select tracker of your choice. You'll see two tracking quality options:  Faster: This is the default tracker, today's tracking re

Hi all,We've overhauled how Premiere handles Variable Frame Rate (VFR) media, and the change is now live in the latest Premiere beta.  We'd appreciate your help testing it before it ships.VFR footage - screen and game capture, livestreams, phone video, and more - stores frames with varying durations rather than a fixed rate. Our aim with this change is smoother playback, more accurate timing and duration, and more consistent handling across clips.What we'd love you to testScreen recordings (macOS capture, OBS, Xbox Game Bar, ShadowPlay, etc.) iPhone and Android footage — very often VFR Game and livestream capture Any MP4 / MOV / MPEG clip with an unusual or fractional frame rate Timelines mixing VFR and constant-frame-rate clipsWhat to look forSmooth playback, no new stutter or dropped frames Audio and video stay in sync, especially on longer clips Reported duration and frame count match the source Frames land where you expect when scrubbing and stepping Exports match the source clipIf

Editors can now generate images in the context they need it. They can describe the image they need, guide the results further using reference frames pulled from their own footage, and generate images that match the look, subject, or composition already established in their edit all using Adobe Firefly or supported partner models. Select a range, choose your model, add optional reference frames, describe what you want, and Premiere inserts the generated image into your sequence.  Generating Images Select the Generative Media Tool from the Toolbar   Drag across any video track or double click a gap to select the duration you want to generate.      Select your model, select any reference images, enter your prompt and generate.   The Generative task bar supports Adobe Firefly Image Models and Partner models. The default model on the Generative task bar for Generate Image is Gemini 3.1 (Nano Banana 2)You can use multiple reference frames per generation. Input frames can be sampled from

We’re excited to introduce a new generative workflow in Premiere. The new Generative Media Tool lets you generate sound effects and video exactly where you need them, directly in your timeline.  Simply select a range in your timeline, describe what you want, and you can generate media directly into your edit. Whether you need missing ambience, a custom sound effect, b-roll, a cutaway or an establishing shot, you can stay focused on editing without switching applications. To add the visual context of your project, use the eyedropper to sample reference frames without leaving the timeline.   Generate Sound Effects in ContextNow you can generate custom sound effects directly in the Premiere timeline.Select any audio range, describe the sound you want, and generate multiple variations that match the duration of your selection.Need more control? You can use your voice to guide the timing and intensity of the sound effect, making it easier to create sound effects that feel natural in your ed

Who just got a glow-up? Effects, that's who!If I had a nickel for every time a new video editor opened up the ECP and said, "Wow, was this built in the 90s?" I wouldn't be typing this blog post right now. I'd be sitting on my veranda with a strong Manhattan in my hand and looking out at the Caribbean. If I had a penny for every time a seasoned video editor told me they had the muscle memory of an Olympic typist, but that they need to invest in 4.00 reading glasses just to SEE the parameters for Bokeh blur well... you get it. Your disdain for the ECP is loud and clear.Have we got a solution for you! Brand new to Public Beta we now have Effects in the Properties Panel! Video Effects! Audio Effects! Masks! Even some color (but you should still go over to our brand new Color Mode for adjusting your Temperature and Saturation because oo la la!)You may have noticed that we are investing in better effects experiences. Building on the acquisition of Film Impact last year, we are now surfacing

The Effects panel just got a major glow-up! Animated previews give you a sense of what an effect does, and advanced search makes it more likely you'll find what you're looking for. It's visual, it's fun, and it just might help you find something creative that's been hiding in plain sight.Say hello to the New Effects Panel — a reimagined Effects panel that shows you what an effect actually does before you commit to it.What's NewAnimated preview thumbnails. Hover over an effect or transition and you'll see a short animated preview of it in action, so you know what you're getting before you drag it onto a clip. Preview from Source. Want to know what an effect will look like on your footage, not a generic clip? Preview from Source is an option that shows the effect applied to whatever's under your playhead in the Program Monitor. Scrubbing stays smooth — previews update once you let go of the playhead, not while you're dragging through it. Smarter search. We overhauled search with keyword

Hey everyone! We're excited to share a new dialogue tool that just landed in Premiere Beta 27.0 Build 39: Audio Leveling. It analyzes a dialogue clip and automatically writes volume keyframes that even out the level, so your dialogue sits at a consistent, balanced loudness without you drawing automation by hand.What's New?Audio Leveling listens to your dialogue clip and rides the volume keyframes for you. It detects where the level jumps too hot or drops too low, then lays down clip volume keyframes that attenuate the loud spots and lift the quiet ones toward a steady target. Instead of one static volume adjustment for the whole clip, you get moment-to-moment level balancing that follows the performance. And because the result is real keyframes on your clip, nothing is locked in. You can nudge, reshape, or remove any of them just like keyframes you drew yourself. Where to find itSelect a dialogue clip and you'll find Audio Leveling inside the Loudness module of the Essential Sound pane

 The HSL Mask Tool and Luminance Mask Tool let you create a mask based on color or brightness in your footage, rather than drawing a shape by hand. Sample a color or luminance range directly from the frame and Premiere generates the mask for you. This differs from HSL Secondary, which isolates a color for grading rather than creating a mask you can apply to any effect.To create a mask, long press the mask icon in the toolbar and select HSL Mask or Luminance Mask. Then click on the area of your clip in the Program Monitor that contains the color or brightness range you want to mask.Masks created with these tools appear in the Properties panel under the effect they are attached to, and work in both Edit mode and Color Mode. You can adjust the range at any time, invert the mask, or combine it with other masks on the same clip.Learn More about HSL mask 

The object detection in Object Masking tool is getting an upgrade. If you are using the latest Beta, you are already using it. We wanted to share what's changing.When you move your cursor over the Program Monitor with the Object Mask tool active, colored overlays snap to objects in the frame before you click. That instant preview is meant to be fast, confident, and complete. It works great for common foreground subjects. But for many other things you might have found yourself reaching for the rectangle or lasso fallback more often than you'd like.What's changingWe've upgraded the underlying model powering object detection. The new experience is meaningfully better across three dimensions:More objects detected. The new model surfaces roughly twice as many selectable objects per scene. Objects that were previously invisible to the object detection pipeline- props, background elements, layered subjects with props, now light up.More complete object boundaries. Mask boundaries are more accu