Feature Requests

Implement a "constant quality" encoding option in the H.264 encoder.  Sometimes you just want to output the best or visually lossless quality files and care less about the specific bitrate.  The "adaptive bitrate match source" preset sort of does this but still selects a somewhat arbitrary bitrate and if you uncheck the source size and scale the frame rate up or down the bitrate remains unchanged.  A primer: https://superuser.com/questions/677576/what-is-crf-used-for-in-ffmpeg Honestly, I just use one ffmpeg preset that has a -crf setting of between 15-18 most of the time in a little applet called "another gui" because of how backwards Premiere's export page has become as of late and it launches 100x faster than media encoder. It makes really nice H.264s with these settings. I think we should keep all the other options for commercial broadcast delivery etc, but for web, just having a decent -crf setup is pretty nice.  https://www.stuudi

Add a Transcription Dictionary feature that allows users to define custom terms (e.g., acronyms, brand names, technical jargon) for auto transcription and captions. Users can manually add terms or upload a document (TXT, CSV, Word) with approved terminology. Premiere Pro then prioritizes these terms during speech recognition and applies correct spelling and casing. Value: Improves transcription accuracy and eliminates repetitive manual corrections, especially for corporate and technical content.

Automatic captioning in Dutch works well overall in Adobe Premiere Pro and is a valuable feature for accessibility.In my work within the Dutch government, I produce many educational and communication videos where accurate subtitles are essential. However, I currently spend significant time correcting captions because the AI does not recognize organization-specific terminology and abbreviations.The main challenges are:Domain-specific abbreviations that are not recognized Differences in pronunciation (some abbreviations are spoken as words, others letter-by-letter) Strict formatting requirements (e.g., specific uppercase/lowercase conventions)These issues are understandable given the specialized nature of this terminology. However, many organizations already maintain standardized abbreviation and terminology lists.Suggested improvement:Add support for importing or linking a custom terminology dictionary (e.g., glossary or abbreviation list) that can be used by the speech-to-text engine w

In any other NLE, I can shift-select multiple elements to move them by hand, without nesting or pre-comping them. It seems very basic, and when doing animated titles, it’s a huge time-suck to move each word individually. It would be REALLY cool if I could shift-select multiple elements and use numerical values (in the inspector) to move them as a group. Since each element has a different position value, I assume this would mean the inspector would display an average position or “null“ position, and then sliders or numerical entry would move the entire group. 

Sony cameras such as the a6700, FX30, A7sIV can capture photos in HEIF format, with a .HIF file extension. These files are supported by current versions of Adobe Camera Raw, Lightroom, and Photoshop. However they are not supported in Adobe Premiere. HEIF is the standard format of the Apple / iPhone ecosystem since 2017 (iOS 11). It is a superior alternative to JPEG for Sony shooters along with / instead of RAW. Sony HEIF supports 10-bit color 4:2:2 and HLG color space for HDR. A HEIF photo taken on an iPhone 12 with .HEIC file extension will open correctly in Premiere. However trying to import an HEIF photo from a Sony FX30 with .HIF file extension results in “File format not supported” error in Premiere 26.2.2.If I rename the .HIF Sony photo to .HEIC or .HEIF file extensions, then Premiere will allow them to import, however the photo never appears in the Source or Preview monitor, instead it just shows black.Please support Sony .HIF photos in Premiere, as they are already supported in

Right now when you use the time remapping feature in Premiere Pro, it does not influence the audio linked to the video, so if you want to make a gradual speed ramping, your audio looses synchronization after the point where the speedramp starts. I suggest adding speed ramping for the audio as well - an automatic one that changes the audio pitch to the same extent as the speed of the video, and a separate one - to manipulate the speed of an audio that is unlinked from the video or has no video at all. I'm not talking about changing the pitch but rather changing the speed with the time remap handles like it's done with the video, so the duration of the audio track is changed as well when applying this time remapping for the audio.I know, I can cut the part I want to change the speed of and use "Maintain pitch" checkbox but this is not time remapping, but rather changing the speed abruptly. Suppose I have a video of a basketball match and I want to speed-ramp the goal moment retaining the

Why can’t I assign a keyboard shortcut to File > New > Black Video?Hi everyone,I’m trying to assign a custom keyboard shortcut in Adobe Premiere Pro for:File > New > Black VideoBut I can’t seem to find this exact command in the Keyboard Shortcuts panel, or I’m not able to assign a shortcut to it.I use Black Video often, and it would be much faster if I could create it with a keyboard shortcut instead of going through the menu every time.Is there a reason why Black Video is not available as a shortcut command?Is this a limitation in Premiere Pro, or am I missing the correct command name in the Keyboard Shortcuts search?Also, if there is any workaround, such as using a preset, macro, script, or extension, I’d appreciate any suggestions.Thanks!

Just the option to make the menu bar ('file', 'edit'...) in Premiere etc. Black instead of pure white would go a long way, as it can get really irritating during longer sessions.That along with other elements, like the right-click-menu, that are solid white even when program and OS are set to dark mode. 

Currently, Premiere Pro displays an "Estimated File Size" in the Export window, meaning the software is fully aware of the projected file size and the destination path. However, it does not cross-reference this data with the actual available space on the target drive before starting the render.Recently, during a long 1.5-hour documentary export, my export crashed on the very last frame, throwing a generic, misleading "Error Code 39 / Selector 9 (Component: H.264 of type Exporter)". After hours of troubleshooting effects and source clips, the actual culprit turned out to be a full destination disk.The Request: Please implement a simple pre-flight check in the Export workflow. If the available space on the selected drive is less than the Estimated File Size (or within a 15-20% safety margin), Premiere Pro should pop up a clear warning BEFORE processing: "Warning: The destination drive may not have enough space to complete this export. Please free up space or choose a different drive."Fur

I need a way to nativly edit all selected Sequence's Settings at once. Also, I would like to golabaly edit Premieres default new Sequence Settings, instead of it trying and guessing based on the type of media already loaded into the project.I would even accept Premiere mathcing the imported media exactly, for example, when I drag a Apple Prores 422 Proxy file into the empty timeline window, it creates a match sorce sequence at every step, accept for the codec. It creates an Apple Prores 422 LT.  

Currently, when I create keyframes on an audio track in Adobe Premiere and later make timeline edits (such as trimming or rearranging clips), the keyframes remain fixed at their original positions. This often causes misalignment between audio adjustments and the edited sequence, requiring tedious manual corrections.A valuable enhancement would be to introduce an option similar to “Markers → Ripple Sequence Markers”, allowing users to choose whether audio track keyframes should maintain their relative timing and move with the edits (ripple) or stay locked to their original positions. This flexibility would greatly improve workflow efficiency when making structural changes after detailed audio adjustments. Example Use Case:When recording a voice-over and mixing “live” using submixes, it becomes extremely cumbersome to make changes later—such as closing a gap before an interview soundbite (O-Ton). Without ripple functionality, every keyframe adjustment must be manually realigned, whi

The menu bar stays at the top of the monitor, separated from the rest of the interface when I reduce its size to fit other applications on my screen.This would be a great help, so I don’t have to reach all the way out from my work window in order to use the top menu bar.

With every update, there seems to be more and more changes made that makes this software unusable. I have to look up a tutorial now on where the mask tool is! Normally, I would hover over search and type in what I need but wouldn’t you know it, for all the investment into AI features there has been zero investment in common sense utility. I cannot wait to learn DaVinci so that for my next project I don’t have rent software that changes on me so drastically, I lose time learning how to use what should never have changes to begin with.  Just add a search bar if you’re going to remove the useful tools I need man. I cannot afford to lose anymore time. 

Premiere 2026 projects cannot be downgraded for import to PR 2026 or earlier due to changes in the 2026 project data structure. Recent discussions about this have not yet been ported to the new forum. The primary previous feature request is here, but may be missing some interim posts. Also, it was primarily an explanation for how to use the non-Adobe methods for changing the project file version number. https://community.adobe.com/feature-requests-730/open-premiere-project-in-older-version-downgrade-project-version-1329162?postid=1329162#post1329162 At a minimum, there needs to be a method for downgraded a PR 2026 project to 2025. A longer term issue is the need, for years, for a more robust converter or for the After Effects procedure for doing a “save as” from a later PR version to some number of earlier versions. January 26, ​@hellopaul4 started a thread titled “Has version "2026" killed the ability to downgrade a project to a previous version?” The most important reply was by ​@Fer

One thing that is really missing in Premiere is a way to disable multiple audio effects at the same time.There is an FX button for visual effects but not for audio.There are some reasons why this would be helpful: A/B comparison, performance (some audio effects have a huge performance hit), quick disable during punch in.At the moment, the only way is to click on every effect and bypass it one by one. A better way could be an additional bypass button per track and/or a global bypass button (either for only one sequence or all sequences as with the global FX button for visual effects).

Hello there,I was having trouble with saving my color presets so that I don’t have to start from scratch grading my talking head clips? Is this feature available or coming in the future?

They decided to mess with this for some reason--it used to have the simple little status info in the lower right corner and you could easily see the progress of when the audio file analysis would be completed. The message also just disappeared on its own after a bit, so no wasted screen real estate.  It also started to show you any completed waveforms so you could start editing long clips long before the analysis completed.  NOW: They moved this to the Progress panel, which requires you to functionally use up 12-15 times the amount of space on your screen to be able to read it at all, manually close it afterward to get that space back AND it makes you wait until the analysis is completely finished before showing any waveforms at all, delaying my editing sessions for several minutes after every import.  Can we go back to the old way or is this just another example of software getting worse with every "improvement?"

In old versions of Premiere, when importing a logo, you could add a shadow and a stroke with the same characteristics as the fonts. In the new versions, this is not possible. To add a shadow or a stroke, you need to add a drop shadow effect.

Hello ! Context :I'm using Premiere Pro daily with a timeline opened in my Source Monitor to have a similar configuration than the "Toggle Source/Record" from Avid. I find this workflow to be a lot more precise and pleasing than pancaked timelines, as you can anticipate exactly the start and end frame when puttings clips on the program timeline, and use the two monitors efficiently. This way of working in Premiere works actually works, but there are a few annoying bugs and small things missing that are really painful when using this workflow daily. This bug/feature which is here since a long timeline is one of the reasons this workflow sometimes feels painful (see this and this topic). The bug :Open a timeline in the Program Monitor.Open this same timeline in the Source Monitor.From the Source Monitor, click on the wheel and "Open in Timeline"The previously opened timeline in the Program Monitor will be closed, and nothing will be opened anymore in the Source Monito

So I have switched over to the Sony Burano to shoot raw, and to my surprise, there is no raw pannel like ARRIRAW or R3D. Resolve has the functionality, but I am Premiere through and through. Can you all please please please add that functionality. This will be a popular camera with the sony Venice so Access to those tools are paramount. 

Premiere Pro should add a playback mode that skips the marked In/Out range during playback, allowing editors to audition a removal without modifying the timeline.This is not the same as Lift, Extract, Ripple Delete, Play Around, or Loop Playback. The goal is to temporarily hear and see the edit as if the marked section had been removed, while leaving the actual sequence untouched.Proposed behaviorWhen this mode is enabled:The editor marks an In and Out point around a section of the timeline. Playback starts before the In point. When playback reaches the In point, Premiere seamlessly continues from the Out point. Audio and video remain frame-accurate and sample-accurate. The timeline is not modified. The mode can be toggled on/off with a keyboard shortcut.Why this mattersEditors often need to test whether a section (ranging from seconds to whole story-arcs) can be removed before committing to a cut. This happens constantly when tightening dialogue, reducing pauses, adjusting music rhyth

I really hate using the button “from file” while using the properties panel, it just takes lots of time to look for it in the external finder window. Especially i already have it open in my existing finder tab. So would it be possible that we could do drag and drops in the properties panel? 

In After Effects when you choose frames or timecode as the time display format in the timeline it displays the playhead position in your primary units (e.g. frames), and shows the alternative measurement (e.g. timecode) beneath in smaller type. I'd like to suggest that a similar thing could be implemented in Premiere. The use case is that it's useful to see at a glance where you are in a timeline in both units, for example client notes tend to use timecode, whereas for animation I'm often working in frames. I'd suggest that the alternative display was shown to the right of the primary playhead position. I'm aware that AE only has 2 time unit display types, whereas there are 4 I think in Premiere. Perhaps for frames and feet and frames the alt display would be timecode, and for timecode the alt would be frames. Or maybe the user could just alt-click through both to select which is show for either. This is a QoL suggestion, but would make a fair difference to my working da

When you replace a clip in the timeline now doing this, it doesn’t respect the original timecode, all the clips start from 00:00:00. It would be great if it respected the original timecode!