Feature Requests

I’m a broadcast editor, as one of my jobs, and many of our tools use the full 0-255 RGB video range, rather than the “limited” 16-235 video range. The new waveform monitors only show percentages. So, it is not possible to see when a raw video clip exceeds 100 IRE. For example, highlights on a set, or bright objects in the field will register at 110 IRE, and need to be pulled down in order to not get clipped (there is still detail there in the highlights which will just get washed out if not lowered). However, if you are not using the “legacy” scopes, you can’t see that elements are exceeding 100%, as the scale simply stops at 100%. If a change is not made, and the legacy scopes disappear, I will manually have to go through each clip, decrease the brightness until all the peaks come down under the 100 percent level. I will also not be able to see, whether a blending effect causes two video element to exceed 100 IRE during a transition. This is very important to me, as I would assume it

Please bring back the classic Lumetri Color panel, or at least give users the option to choose between the old and new interfaces.The new Color Mode might offer some interesting features, but for those of us who have been working with Lumetri Color for years, it makes the color grading process unnecessarily complicated and time-consuming.The old panel was simple, intuitive, and efficient. Everything was easily accessible, and making quick adjustments was straightforward. With the new interface, even basic color corrections feel less convenient.I understand that Adobe wants to introduce new tools and improve the software, but why remove something that already worked so well?Please give us the option to keep using the classic Lumetri Color panel alongside the new Color Mode. Let users decide which workflow works best for them.

Hello Adobe Team,I wanted to share some feedback regarding the upcoming Premiere Pro update and the new Color Panel changes.I noticed that in the beta version, the Lumetri Color panel seems to have been removed or replaced. I would strongly like to request that the Lumetri Color panel remains available in future updates.For many editors, including myself, Lumetri is a core part of the workflow. It is fast, familiar, and highly efficient for color correction and grading, especially in professional editing environments where speed matters.While I appreciate the new features and improvements, removing Lumetri could significantly disrupt established workflows for many users who rely on it daily.Please consider keeping the Lumetri Color panel as an option alongside the new Color Panel, so users can choose the workflow that best fits their editing style.Thank you for continuously improving Premiere Pro.

Is there a way to make color adjustments to an adjustment layer within the new Color tab. It seems you can only select video clips. I know you can make a global adjustment using the sequence tab, but this will affect everything in the timeline, and I like to adjust what is affected using adjustment layers. Placing GFX above the adjustment layer so they’re not affected, as an example.  

i ve just found out (the hard way, after editing a whole new wedding in the premiere pro 27 beta) that the lumetri panel is missing and i have only the (awfull and unsuable) new color mode. WE WANT THE OLD TRUSTY AND PERFECT lumetri control panel!

Hi Adobe team,Please remove the new Color mode and bring back the classic Lumetri Color panel.For those of us cutting on tight daily deadlines, locking color tools behind a separate mode breaks custom multi-monitor layouts and adds unnecessary clicks just to tweak exposure or throw on a quick LUT mid-edit. Being able to keep the Lumetri panel docked right next to Effect Controls and Scopes in our main workspace was fast, modular, and built into years of muscle memory.At the very least, please make the new Color mode optional so editors can keep using the classic dockable panel. Don't force a rigid layout at the expense of actual editing speed.

l’ultimo aggiorno ha stravolto le funzionalità di premiere, questo mi ha recato un danno enorme per il flusso dei miei lavori, non avere più la gestione del colore compreso la maschera per le lut in un’unica finestra è davvero un macello nella gestione, ho pcapito che avete attività una finestra nuova che sarebbe prorietà ma la gestione del colore era più completa, cioè cosi avete cambiato tutto dando per scontato che i videomaker vi debbano seguire quando hanno lavori da finire.questo ultimo aggiornamento è stato pessimo dovete dare l’opzione per chi vuole utilizzare la vecchia finestra la dovete abilitare, infatti e di colore grigio.

We need the ability to save multiple Styles in to one Style Preset in the new Color Mode.Right now, you can have as many modules as you want in one Style, and you can save that as a preset, but it would be great to be able to have multiple Styles in a single preset.The main use case I see for this, and why I think this is necessary is if you have multiple masks for a color grade, and you want all of those in one preset. For example, you could have a Style Preset for an interview, with two different HSL Masks – one for skin tones, and one inverted version of that same mask. So if you want to tweak only skin tones in one Style and then maybe add teal tones to everything other than skin tones, you need two different Styles with different HSL Masks.Right now, you can’t save that as one preset, and that is something I bet a lot of users would really want to have.It seems like you can add the masks to individual Modules, but that doesn’t work at all. Getting that to work properly would also

The new Color panel in Premiere is a complete mess and it lacks some very crucial tools. It is insane how this has now replaced Lumetri Color as the main way to edit colors. This is definitely not a finished workspace. I bet no one in the team behind Color Mode has actually done any color grading.There’s two features that NEED to be added ASAP.Curves. Just traditional contrast curves. This is the most vital tool for tweaking contrast in your shots. This needs to be in there. HSL Secondary. At the moment we can select ranges based on either colors or brightness values and tweak those. This is definitely not enough. If I want to select skin tones with a specific hue, saturation and luminance value, I can not do it right now. This is just crazy. If I want to do a teal and orange look without affecting skin tones, but affecting everything else, that is impossible right now. EDIT: I just found the HSL mask tool under masks, so it is there, but it’s just a bit hidden.These two things have to

Adobe Premiere needs a button on all video tracks to solo selected tracks. This is often a very helpful function to determine the effect of the selected track clips on the combined track output video image.

I just updated to version 2027 and when I open Premiere the panels on the screen are not fully visible. I have to click on the different panels to make them visible (timeline, effects, project, etc.) Then when I start working on the project, every now and then the app get stuck and nothing is happening (i.e. Ctrl+D to apply a transition nothing happens until all of the sudden start to work again). This is terrible! I can’t work on my videos without knowing if what I’m doing is really applied or not. I’m working with Windows 11 version 26H2 and NVIDIA GeForce GTX 1650. Everything was fine with Premiere 2026. Please fix it!

Make it so Adobe Premiere can create markers that show a vertical line down through all tracks

So 1st: captions are not able to be deleted from a Premiere Pro file. If you create a transcript with captions, you can’t delete it, and you’ve ballooned your project file size by hundreds of MBs. You’re screwed. GFY.2nd: Captions are absolute dog sh8t in their translation from audio to text. I have a studio, windless set up, with lapel microphones on two speakers. Premiere can’t even manage to write the correct word in any of the sentences. I’d argue that there is a 90% error rate in transcription. Every single line is wrong. Garbage. Absolute trash.3rd: To repair the garbage trash transcription that bloats my software, I have to go into the Text window, tab to enter the script, enter to work the characters, and then tab to exit the script. That immediately forces me out to the timeline again, and to change the next sentence I have to move my mouse and get back into the window. This might be okay if the error rate wasn’t blowing the roof off at every other sentence +90%. Absolute. Gar

Hi Adobe team!I’ve been enjoying the new color mode in many ways, but the biggest issue I have at present is that the order in which effects are implemented is, by default, Clip → Group → Sequence. I would like the ability to change this on a per group basis, or at the very least, on a per clip basis, giving the ability to have the sequencing go Group → Clip → Sequence. The issue is that when you first bring footage in, the main move for most editors (myself included but I work in an agency and this workflow is shared) is to first apply a standard LUT onto log footage to get it closer to a Rec 709 color space (or whatever the project calls for). Then, corrections are applied after this, so the 2nd effect is changing the luminance and chroma values after the LUT has gotten it into a more general area of acceptable contrast and color rendition. HOWEVER this is still relevant if someone is taking something from log footage all the way to final look. It would be great to have a first layer

Hello Adobe Team,I would like to strongly request an automatic "Watch Folder" feature in Premiere Pro. When users add new media files (video, audio, or still images) to a designated folder on their hard drive, Premiere should automatically import them into the corresponding bin in the project, keeping the project in sync without manual re-importing.Hello Adobe Team,I would like to strongly request an automatic watch-folder feature in Premiere Pro.Currently, when new footage is added to a folder on disk, the bins in Premiere do not update automatically; we have to manually import or refresh in the Media Browser, which is cumbersome. A built-in watch folder system would allow users to designate a monitored folder, similar to third-party plugins like Watchtower. New files would be automatically synchronized into the project, with options to merge image sequences and other advanced settings.This feature would be extremely helpful for documentary work, long recording sessions, and collabora

Bring back the click box for empty tracks!!Can anyone relate to this making it hard rather than just checking boxes?

When editing captions we need to be able to see the number of characters in a line of a caption to be sure they fit within caption character limits. There is an option to set a character limit when generating captions, but once I start editing captions there is no way to maintain that character limit or see if we have gone over the limit. Please show the character length of each line somewhere in the caption panel. At the very least the info panel could should a character count when a line of text is highlighted. 

for anyone using a lot tracking object mask, this would be very useful. 

I cant see my timeline in new color mode premiere 2027, please reinstate that. please reinstate the SEC tab too for isolating colors. The right side of the color window shows all these still frames from the raw video, which i find to be unhelpful. the loss of the comparison button is scary. I hope adobe rethinks its decision to phase out lumetri. this new color mode feels thoughtless, sloppy. PLEASE dont phase out lumetri. This is how Final Cut Pro lost a ton of customers to adobe, bc they released a product that was terrible circle 2010 ish 

Short answer: no. Premiere Pro 2026 has no built-in watch folder. Bins are virtual, so files that land in a disk folder after import won't show up until you import them again. Native workarounds:1. Media Browser: browse the folder on disk and drag in only the new files.2. File > Import the same parent folder each session. Premiere mostly skips files it already has.3. Use dated subfolders per shoot day, so you only import what's new. Want it built in? Upvote this request:https://community.adobe.com/feature-requests-730/feature-request-watch-folder-auto-sync-for-premiere-pro-%E8%87%AA%E5%8A%A8%E5%90%8C%E6%AD%A5%E7%B4%A0%E6%9D%90%E6%96%87%E4%BB%B6%E5%A4%B9-1328967 Paid third-party options exist, like Watchtower and Pro IO. Disclosure: I make BirdLink, a paid Premiere Pro 2026 plugin (one-time €29) that links disk folders to bins and imports new files automatically. macOS is stable, Windows is in beta. Demo attached.Website: https://www.birdbase.io/birdlink How do you handle this?

Transcribe feature of adobe premiere is very limited due to languages. I mean it is just ai, why can’t there be other languages. You guys are giving us ai generate and delete tools. But this is really basic in the age of social media we need to transcribe and use all languages in our videos.Transcribe feature of adobe premiere is very limited due to languages. I mean it is just ai, why can’t there be other languages. You guys are giving us ai generate and delete tools. But this is really basic in the age of social media we need to transcribe and use all languages in our videos.

There needs to be a way to SAVE your color pipeline in Color mode when you make something Good. Color adjustments are not able to be saved or made into a preset , and the ability to EXPORT LUTS has been removed (we need that by the way) . Removing tools only hurts colorists . I would love to fully learn and use color mode , but i refuse to start from full zero every time i color grade 

I would like to be able to open my project that it would be safe on Frame.io or Adobe cloud and make edits and see in real time what my teammates are working on without having to save and load and upload.

Feature Request: Add Video Track Visibility Filtering to the Clip Grid in Premiere Pro's Color ModeI'm using the new Color Mode in Premiere Pro and would like to suggest an improvement to how clips are displayed in the Clip Grid.Currently, the Clip Grid displays every clip in the timeline, regardless of which video track it occupies. This means that clips on lower video tracks are displayed alongside clips on upper tracks, even when they are completely obscured by other clips and do not contribute to the final image being displayed in the Program Monitor.This becomes particularly problematic when working with complex timelines containing multiple video layers, for example: V1: Main footage. V2: B-roll, alternative angles or cutaways. V3: Additional footage, overlays or compositing elements. V4: Adjustment layers. V5: Titles and graphics. In these situations, the Clip Grid can become cluttered with clips that aren't actually visible in the final composition. This makes it harder

Hello,I would like to submit a feature request regarding timecode-based synchronization in Adobe Premiere Pro.In my workflow, I regularly work with a large number of clips (e.g., 100+ clips from multiple cameras) that are already perfectly synchronized using timecode. My goal is to align all clips directly in the timeline based on their individual timecode while keeping them as fully independent timeline elements.At the moment, this is not possible in Premiere Pro. The Synchronize function only works for a small number of selected clips, and larger selections are restricted. This forces users into multicam workflows, which are not always appropriate, especially when full individual clip control is required.What makes this limitation even more surprising is that external tools such as PluralEyes have been able to perform this type of batch synchronization easily for years, including large-scale multi-clip synchronization based on timecode and/or waveform analysis. Given this, it is diff