Feature Requests

Often when editing, we have 6 to 12 tracks of audio [depending on how many actors are in a scene]. Then double or triple that when performing a J/L cut. We don't want to lose sync by deleting the tracks in case we need to isolate a mic or bypass a mic hit or related issue. The current methods to reduce the number of tracks is either creating a multicam or nesting a sequence--which both create a longer work around. A condense audio tracks feature would be a fantastic solution--something that will help clean up the number of tracks seen in the timeline for a faster edit, but allow quick accessibility to those 'hidden' tracks when a fix needs to be made.

In Premiere Pro 23.0.0 and Beta 23.2.0 I have a project where I am using rolling titles in Essential Graphics (EGT). In previous versions rolling titles would play relatively smoothly from the timeline. In version 23, they are not doing so, and it is very difficult to estimate what they will look like without completely pre-rendering them.Upon investigation, the EGP rolling titles are fully using the CPU now instead of the GPU (perhaps this was always the case. However, I do not remember the high CPU usage during rolling credit sequences.). Now, when playing a credit roll in a sequence (1080p/60), whether on top of a still graphic layer or not, when the play head reaches the credit roll, CPU usage goes from about 18% to about 70%, with one thread reaching 95% utilization on an Intel i7-6800K using 13GB of 32GB RAM and an nVidia GTX 1080 using 1.8GB of 8GB VRAM. During credit roll, GPU usage drops from 12% playing back an MPEG2 MXF video to 3% during the credit roll atop a 1920x1080 ph

It is impossible to get smooth rolling titles out of Premiere Pro Version 23.0.0. by concept!!The approach of inserting text and afterwards adjusting the rolling time freely in the timeline will automatically lead to shutter effects, not a smooth rolling title. You cannot get it right.We would need a slider to adjust the pixels movement (only natural numbers work) per fps to get it right. If I adjust the timing by hand in the timeline I will get automatically pixel movements which are decimal number per fps, which leads to flickering. Yeah, timing would be relatively fixed and not so much flexible anymore, but I would have cineastic, smooth rolling titles!!!Other way would to be at least get a info, what the resolution of my rolling title created in essential graphics is. With that info I can calculate the right rolling time to get smooth rolling titles, without applying any effects.

Simply put... The TIMECODE effect should simply read the timecode of the clip, NO MATTER what BUT the TIMECODE effect refuses to read the timecode of any nest. For instance... if I make a nest of a clip, I always alter the timecode to match the clip inside. If I use that nest in a cut, when I add the TIMECODE effect to that nest, I expect the TIMECODE effect to be able to read the timecode of the nest. Instead it simply ignores it. If I match frame, its clear the timecode is there, but the TIMECODE effect has no idea what to do with it.

動画のエンコードが一切いきません。どの動画をプロジェクトにいれてエンコードしても破損ファイルか対応していない形式とでます。どういう事でしょうか？

I usually edit audio and add marks to the audio that I'm editing so I can jump to parts I need to tweak. I can no longer do that. Everytime I use the shortcut to go to the next marker, it just jumps to a seemingly random place on the time line and disregards the markers I've set. But, if I were to drop in a video clip (with audio attached) and add markers to that, it work perfectly fine.I'm not sure what changed because I've done this many times and never encounter this issue.

As we're rendering our preview, we can see the timeline turning green in the background as it completes each cut. It would be awesome to see a progress/percentage bar for the clip that's currently rendering. When you're working with some standard 1080p mp4s that cut into files that may have effects from AE attached, or heavy 4K files they each take different times to render. Whether we get a time estimation on that current clip/cut along with a progress bar, or even just a frames completed count ticking up would be helpful.

On the Premire Pro editing screen, when I go to full screen, the screen moves to the left.In the case of two screens, the left side is cut off and cannot be viewed properly.Is there any way to improve this?

I jump between NLEs for my editing work, most frequently Avid Media Composer and Premiere Pro. After much thought, the top editing feature from Avid that I'd like to see in Premiere Pro is to have a single button (Shortcut) that loads whatever is in the source monitor into the timeline. This could be a clip but most useful would be with a sequence loaded into the source monitor. One click toggles between source/record in timeline. I'm aware of the "Open in Source Monitor" and then "Open in timeline" combination and that this could potentially be invoked with a macro but with multiple sequences open in the timeline this can be confusing.On Avid I use this function 100s of times a day, especially on longform when reversioning or dealing with producer notes.This suggestion would make a LOT of die-hard Avid editors sit up and look.

Condition: You are in the process of dragging something onto the timeline, and Auto-Save pops up.Expected Result: Drop can complete normally; OR at least, the mouse behaves normally.Actual Result: After auto-save finishes, releasing the mouse-button will not result in a drop event, and the interface forever shows the dragging tooltip/overlay. We can still perform other tasks relatively normally.But if we move the mouse to a horizontal edge of the timeline, such as to get something from the Bin, or to access one of the File/Edit/etc menus, the timeline continuously scrolls in that direction while the mouse is outside the timeline.The only recourse is to close and re-open Premiere.

Premiere 23.1 crashes everytime I try to merge the output with an existent transcription.

Not technically closed captions -- but please send to appropriate dept. Thanks!Came up against challenges when doing subtitles for a film in Italian (subtitling for English). Please send the following suggestions up the chain and ask them to include in the future for subtitling:1) There should be a character count feature -- Netflix and other services have strict requirements for subtitles (number of characters etc). Even better would be a template / setting that keeps your subtitles "legal" for Netflix etc(2) The subtitle background should be LOCKABLE so that it's not so easy to accidentally drag the whole thing when you're trying to move a single subtitle(3) You should be able to select and move multiple subtitles at a time.

Premiere struggles to sync poly WAV files. Please make it possible to import polyWAV and sync without having to line up each video clip 1st. Here's a post In put on help forms with my experience on a project:Editing in Premiere and my sound guy gave me poly WAV files, whic I now need to sync using the scratch track from my camera (Zcam E2 S6). Pulled the (poly) .wav files into the Premiere timeline, which revealed all but one of the indivividual tracks (weird, I can see all 5 tracks in modify->audio channels but only 4 appear in the Timeline). Anyway, Premiere won't sync in timeline ("Synchronize" greys out) because some clips share tracks. There are a LOT of clips -- so creating a new track for each manually isn't feasible. Tried PluralEyes both inside Premiere and stand alone, exporting .xml each time, including a timeline with original camera audio replaced (not that that would matter). PluralEyes inside Premiere resulted in overlapping video and audio clips, a mess. PluralEyes

It's always difficult to close many tabs (sequences) on Timeline, partly because tabs (and close box) move as we keep closing them. It would be helpful if the leftmost tab was fixed on place.

Need to be able to pre-type titles and store them in bins for our editors. MAJOR ISSUE that titles are now graphics and can only be created and stored on the sequence. Destroys workflow and is super inefficient to have to store them on the timeline. PLEASE FIX IMMEDIATELY!!

NO ANDA EXPORTAR EN H264, DA ARCHIVOS VACIOS

When a user uninstalls a version of Premiere (as a troubleshooting method), it seems obvious Adobe should make the SAME version available for re-installation. I uninstalled version 15.4, which is the MOST CURRENT VERSION I'M ABLE TO USE. However, 15.0 was the only version I could wrangle from tech support. This version DOES NOT HAVE THE SAME TRANSCRIPTION FUNCTION AVAILABLE IN 15.4!!! WHY CAN 15.4 NOT BE MADE AVAILABLE TO ME for re-installation? UNACCEPTABLE!

I think that there is a bug in Premiere Pro, latest version (23.1.0).I'm using Windows 11, latest version. Steps to reproduce:- Create an adjustment layer- Add a lumetri color effect to that layer- Create a mask path of that lumetri- Toggle animation of that mask, and create at least three or four keyframes, moving the mask in different places of the video in those keyframes- Add a point to that mask, in a keyframe that's not the first- Edit -> Undo What I thought should happen:The point gets deleted in all the keyframes What happens:The point gets deleted just in the first keyframe, and in the keyframe you added it in (if the point was added in a time position where there already was a keyframe).In addition, the movement between those keyframes "jumps" and doesn't "smoothly move" between the positions of the video. Notes:I chatted with the support, and they told me it is an expected behavior as the only way to remove a point added "by mistake" is with ctrl+click (on Windows), or le

Bug: Keyboard functionality not working for the source window. Only been an issue in the latest version 23.0.0.Incredibly frustrating and slowing down workflow significantly

Premiere Pro is saving to the Documents folder on iCloud. Can this be fixed so that it saves onto the SSD?

When working on projects in the Production function, sometimes I need to quickly find the right sequence, but since the search now only works by searching for the title, is there an option to change it?

Um temporizador que marca o tempo quando se está sendo editado dentro do programa.Você aciona a função gerencimento de tempo e o programa começa a contar o tempo trabalhado ali dentro daquele projeto.Junto ao gerenciamento de tempo é necessário o trackeamento do acesso, ou seja, cada editor tem um acesso com seu nome e o programa monitora o tempo dele trabalhado naquele projeto.

This is very much needed and wanted especially from all my colleagues in the news editing department. When you have set audio transitions on your clips and you want to switch out the audio in the exact length you always have to redo all the transitions. This is very time consuming.

I would like to have the option to disable clip overwriting and/or splitting (such as what happens with the insert/CTRL+click function). If I add all of my clips to the same track, I would like them to just stack up behind one another, uncut. This would be extremely useful when adding intros, intermissions, or additional footage to the begnning or middle of a project. Having to constantly select/lock and move around my entire project just to add in an intro or some clips in the middle is really inefficent.Functionally, it would look like this: when moving or adding clips on the same track, they would be prioritized by whichever one starts first on the timeline. If a new clip is added overlapping another clip (on the same track), then the clip that begins first on the timeline would take priority. The "second" clip would stack behind it, and any other clip(s) would continue to stack behind that. When "disable clip overwrite" is set, then CTRL+click can still serve as the insert or "over

That Adobe doesn't provide proxy presets for vertical videos isn't just insane. It's comic legend. Here you have the shoe maker with no shoes. And what really makes this epic is that the user is expected to create their own vertical proxy presets - a process that is about as far removed from "intuitive" as "vomit" is from "ice cream." I'm reminded of the famous words of Clark Griswold: "Hallelujah! Holy ****! Where's The Tylenol?"