Feature Requests

I've been a Senior Editor for 24 years now. My specialty is editing multicam footage. When I've only got 10 cameras, it's okay. But more often than not, I get between 20 and 40 different sources, because most of the time, I'm called in to edit major shows. I come from the AVID world (where we see labels in multicam, as shown in the image below).I'm more often asked to do my projects in Premiere these days. Not being able to see the labels on my timeline is really annoying. I need to find my bearings quickly. For a number of reasons, such as observing whether I'm using a source too often or fixing the same problem on a source every time I edit, it's crucial that I can see the labels directly on the timeline. It's a no brainer!Thank you for considering my request and to the other editors, share, vote, make this request a reality!!!! Martin Julien 

It would be great to have this ‘nest/comp’ UI breadcrumb in Premiere Pro like it already exists in After Effects. Especially when you have more than a couple levels of nests in your Premiere sequence, it's often a pain to navigate back through the different levels of your nests.  AE breadcrumbs showing the direction of the comps (nested) Premiere doesn't show the nests in any particular order of the levels, so it gets pretty confusing to know the flow of the nests once you have a couple in your sequence.  

As a long time multicam user, I would be grateful if there was a feature where, when editing multicam clips and selecting the respective camera, a different label color would appear for each camera. This way we could have a better overview of our edit and also select label groups and pasting some effects or flatten only the cameras that we want.

In 2026, when you mouse over clips in the timeline, there’s cross dissolve boxes on the clip on booth sides.Nice feature, to turn that off. Should be easy. 

Right now, Premiere Pro’s (Pr) enhanced speech is V1. The only way to access V2 is by using the web-based Adobe Podcast. This adds so much extra time. The V2 is so much better than V1. Please add V2 to Pr so it can be done within the Pr app on my computer.

Add a Watch Folder feature, where footage are automatically imported if added to a specific watch folder

I frequently incorporate speed ramps into my work, but the current implementation in Premiere Pro makes the process unnecessarily difficult. Unlike After Effects’ Time Remapping, Premiere Pro’s speed ramping constantly changes the clip length, making it frustrating to refine the timing of edits.Requested Improvements:Consistent Clip Length – Implement a speed ramping method that does not automatically alter the duration of the clip when adjusting speed keyframes. This would allow users to experiment with different speeds and easing without affecting the overall edit structure.Time Remap-like Behavior – Introduce an option where speed ramping functions similarly to After Effects’ Time Remap, enabling intuitive keyframing and easing without disrupting the timeline.Workflow Integration – Provide a way to achieve smooth speed adjustments without requiring Dynamic Link to After Effects. Keeping the entire process inside Premiere would streamline the editing workflow. These improvements

We need a professionnal way to edit a multicam sequence into a target sequence with all the audio tracks included in the multicam sequence.If my multicam sequence have 6 audio tracks, I have to copy them from the multicam sequence and paste them into the target sequence, and cut multicam image + these "unlinked" audio channels ... We want to keep all the audios sources for the mixer or sound editor. But these "unlinked" audios can be a big source of problems during the cutting ... Some audios clips can be desynchronisated, crushed, erased ...And impossible to make a simple "match frame" after that, to recover the 6 audios tracks ... I have to copy TC IN and TC OUT into the timeline, cut the 6 audios clips, et drag and drop into the target timeline ... Not very productive, and so suprising for a software like Premiere to don't have an easy way to nest 6 (or less or more) tracks with a multicam image ...Thank's

When syncing audio how can we, as highly functioning editors, who would like to continue to use Adobe and NOT move to Davinci... designate which audio track moves. There should be a designation for master Audio, it cannot be that hard.I also noticed that Premier will ignore grouped selections and randomly move what it feels like moving, nullifying a group,  Example, I have V1, A1, A2, A3 synced and grouped.  I then want to add a 4th synced audio channel.  In doing this Premier, ungroups A3, and randomly moves V1, A1, A2, to match the location of A4?In what world would this EVER make sense?  FIX IT...PLEASE!  WE MUST BE ABLE TO DESIGNATE WHICH TRACK MOVES, AS WELL AS NOT LOSING GROUPED SYNCED CHANNELS, ANYTHING LESS IS SUBSTANDARD.  Or we switch to Davinci?

Is Premiere cursed or something? Or are we, professional video editors? How can cell-prone app have such a simple and needed feature for years and Premiere Pro, which is obviously for PROs, sends you to AE for this? Adobe, this is not funny. Every other PRO level software has had tracking for years, even your own software has it, why is Premiere ignored?  

Hi, guys. The porblem I've suffered for ages seems to bother no one but me since I've found no such posts here in the Community.There are keyframes in Premiere Pro and they have handles. In After effects if you hold the Shift key on your keyboard, the handles pin to the horizontal or diagonal position so in case of moving the Scale keyframe to interpolate it more gradually - that is ease in\out more - you don't go above or below the current value. In Premiere Pro the shift key does not work and whilst the position key is pinned to the lower part of the keyframe region and cannot be moved below it, the scale keyframes float as if not attached, see the video below. The handle goes up and down from its starting point once you move it to the left to make the ease "easier". And if you want it have the same value you keyframed it you either have to use a magnifying glass and a ruler or somehow bring it to the same level visually.Isn't there a chance Adobe will introdice some kind o

I would like to request an improvement to Premiere Pro’s multi-clip trimming functionality.Currently, when multiple clips have additional source media beyond their Out points, Premiere Pro does not allow users to select them and extend all their Out points simultaneously. Each edit point must be adjusted individually, which becomes extremely time-consuming when working with many clips.This functionality already exists in most DAWs for editing multiple audio events. The proposed behavior is straightforward: Select multiple clips or their Out points. Drag one selected Out point to extend all selected clips by the same relative amount. Use the clip with the least remaining source media as the limiting clip. Stop the group extension when that clip reaches the end of its available source media. Allow the editor to manually close any remaining gaps afterward. This would preserve the relative duration change across all selected clips while preventing any clip from extending beyond its

I am editing a documentary, I have several synced up sequences, some are longer than 1 hour.  I am seeking the best way to utilize nested sequences to make the master edit, however, currently in Premier, when we make a nested sequence, we are FORCED, to name the nest, then the nest AUTOMATICALLY, changes the name of the original clip...WHY?  That makes no sense!.  The original clip name should never change, unless I want to do it.  This workflow could be so much smoother, yet currently it is clunky.  There should be a way to create multiple short nested exported clips into a bin, then import those nested clips into a new timeline WITHOUT renaming and corrupting the original file.  As it is, it seems the only way to do this is to copy and paste, which is so 1980’s, and takes away the cool functionality of a nested sequence.  This process, I propose harkens back to film days with trim bins, while utilizing the functionality of the nested sequence.  At present, while the current system ma

Hello Adobe Team, Please consider improving the keyframe control system in Premiere Pro. Currently, it feels outdated and unintuitive — especially compared to tools like After Effects or even other modern editing software. Key issues: Keyframes can’t be efficiently controlled via APIs. The Bezier/curve control is clunky and limited. There’s no quick way to save or reuse animation graphs. Adjusting motion graphs or easing is far less fluid than in comparable tools. It would be great to see smoother graph editing, better keyframe interpolation options, and maybe a way to quickly save/reload custom motion curves. These improvements would make Premiere much more powerful and user-friendly for editors and motion designers alike.

Ok I've had enough! Please add a good quality graph editor into Premiere Pro! Something like Flow for After Effects, or just the base one from After Effects is good enough. Just anything that is not a tiny graph thing that I can't make bigger or even lock any axis...Especially make it possible to copy and paste keyframe easing values over to other keyframes as well. It's a horrible experience to adjust any keyframes while it works well over in After Effects.

It would be great if the duplicate frames were seen on the source monitor or the icon view and thus know what part of the video has been used.Also, still images are not seen when they are duplicated on the timeline.

I’m asking, even begging that Adobe buy PluralEyes multicamera synchronization plugin that was discontinued by Maxon in 2023 but is still the only software that gives 90% out of 100% successful result in synchronizing huge multicamera milti-source audio materials (yeah, much better and with fewer glitches than Syncaila). Since Maxon don’t need it anymore, but we, Premiere users, NEED it dreadfully, this piece of software should be integrated into Premiere like Adobe did with “70 plugins and transitions” when they bought Film Impact. Not as a plugin, but as a Multicamera creation mechanism.I won’t lie if I say that the current multicam sync in Premiere is crap. Has always been. It gives good results only in greenhouse conditions, when there are 3 big-long clips and from several cameras and a boom-audio tracks. Just now I tried to sync a 2-hours-and-a-half worth of shooting on one single camera (160 clips) with a perfectly clear sound with a bunch of DJI-mic recorded audios (14) and Prem

Hi! I work with music audio stems daily (all with the same timecodes and length) and would love a way to easily stack them each on their own audio track instead of having to go through each stem one by one to place them where they need to be. Kind of like creating a multi cam clip but without nesting the tracks.Thanks!

Transcription tool should be able to learn voices within a project, and keep a master list of speakers - currently have to manually input speakers each time with each new source clip!Avid can already do this … just sayin :)   

Hi, I googled for hours but couldn't find the solution. My problem is: I use default transitions a lot in my projects, and I use Snap feature to align clips, and each time I try to align one layer to another, it snaps to other layer's transition, not to it's border. This creates a lot of gaps and misplaced clips, not to mention a lot of frustration. I wonder if anyone needs snap to transition's border more than to clip's border, but Premiere constantly do this, and I have to manually check every junction in my project. The transitions are small and easy to miss, sometimes they're not even visible without zoom, so I don't even know where did it snap to. When you have 1000 clips in a project, this becomes a pain.Does anyone have a solution for this?

Currently when using “Render and Replace” you pick a location to render to, but no matter what project you open, that location is set to the last location you used, it should be a project based location so if you switch projects it remembers the last location you rendered to for that project. 

I understand that Adobe want’s to focus on ai, efficiency, and innovation, but this new premiere update’s masking tools are quite cumbersome. What is the thought behind improving efficiency with the new mask tool workflow? I may be missing something. I understand that adobe want’s us to embrace the object masking tool, but that type of object masking is not terribly common in my videos.I do a lot of opacity masking where I overlay clips on top of other clips. My workflow used to be:Create mask by selecting one of the premade shapes or pen tool in the opacity section of the desired clip. Enable keyframing of the mask’s path  Move timeline and move mask to create keyframeNew workflow to follow:Create mask by finding tool in sequence toolbar, select shape or draw Assign mask to opacity Select the “frame” button on the frame/clip selector Enable key framing the mask’s path Move timeline and move mask to create keyframe.This new workflow is far less efficient in my use. I’d like to have the