Feature Requests

Currently we can only apply the text "style" to the rest of the captions in the track, but we can't do the same for alignment and position settings. 

How to remove the navigation panel in pr2023Has anyone opened a ticket yet? Please tell me where I can vote? 

I keep my camera masters in their own respective projects, my stringouts in another, and my current cuts in another. If I inherit or take over a project, or some media goes offline for whatever reason between opening the current cut, I'll get the relink dialog box - totally fine. If I relink everything in the timeline, but want to match-frame and reveal the clip in it's source project, everything in my current timeline from that source media project goes offline and needs to be relinked again.Conversely, and my current workflow at the moment (but becomes unruly when I have 20 different source media projects for some productions and need to double-check them all) is to open all the source projects, be sure all the media is linked, and THEN open my current cut. Only then does the media seem to remember to stay linked.re: proxies, if I move my proxies to another drive, I have to detach and re-attach all proxies in order to never get the proxy relink dialog box again. relinking proxies sho

In Avid, if I load a source clip into the Source Monitor, I can toggle my timeline from the Program Timeline to a timeline view of the clip. I can then set ins and outs, target tracks, and toggle back to my program to cut the piece in. This is especially helpful when I have a broadcast master with split track audio and I want to cut it into a new piece using just the DIA or SFX tracks. In Premiere, the best I can do to monitor just the SFX track with the video in the source monitor is solo those tracks using the clip mixer. Just seems like a lot of panels to have open for a simple usecase.So it's not so much a timeline with the clip in it, but a way to view the clip in a timeline while working with it in the source monitor so I can target and monitor tracks.Bonus, and another idea I posted not long ago, would be as I target tracks and set in and out marks, those are reflected in the source monitor.

My workflow in the Avid days was to load up a stringout in my source monitor, toggle to that sequence with the press of a button, target all the tracks and set in and out points, toggle back to the Program timline, and cut the stuff in. While pancake editing kinda "solves" this, it feels more like a workaround and far less elegant.In Premiere, while being able to open a source sequence in a Source Timeline is helpful, seemingly no interactions other than moving the playhead seem to have any bearing on what is happening in the source monitor itself. I can set an in/ out and target tracks all day, but the targets do not reflect in the Program's Timeline nor do the in/ out marks translate to the Source monitor.I don't always know what tracks I want before I load a sequence into the source monitor - that's why I open in Source Timeline. With the current workflow, I have to make a mental note in the Source Timeline and apply the patches to my Program Timeline AND copy/ paste the timecode fo

I noticed you can access and change variables in effects controls but you cannot set keyframes for them to animate and I feel like it would be helpful to have that feature. For instance, I have a MOGRT that I made in After Effects and I have certain elements that I only want to trigger at certain times. I know in AE you can trigger an animation with a marker through expressions, but you can't access that marker in Premiere using Essential Graphics. Like this https://www.youtube.com/watch?v=diaCkKp5lpY Is there another way to do this?

With the new Ryzen CPUs having integrated graphics, it would be fantastic if Adobe would implement an "AMD quicksync" alternative, leveraging the IGPU for smoother playback when possible.  Currently, Intel CPUs are typically the better option for most users that work with H.264 because there are fewer dropped frames and it creates an overall better editing experience. By supporting the new AMD alternative, myself and others who've invested in both AMD and Adobe can not only finish editing faster but have a much better experience. As this is Ryzens first real generation with the IGPUs in these types of processors, it doesn't need to be perfect, but the sooner it is integrated the sooner it can be refined with user feedback!Hopefully, this is not something that AMD needs to contact Adobe about to get done.

If I set, for example, "Set to Frame Size" to F12, if I then right-click a clip to see the contextual menu, there is no keyboard shortcut shown beside "Set to Frame Size", yet the shortcut does show in the main menu (Clip > Video Options > Set to Frame Size). But I'm sure I'm not alone in very rarely venturing to the main menu bar - almost everything I do is keyboard shortcuts or contextual menus. Could we please have keyboard shortcuts shown in the contextual menu, so we're reminded of what shortcuts we may have set up in the past?

allow an increment and save feature in Premiere same as Ae. this way you can easily create incremental versions of your project in cast you want to go back and auto save is not enough. this will solve the workaround of "save as" and adding _number.

In many other NLEs, such as Media Composer and EDIUS, it is possible to set whether an imported image such as a PNG or TIFF is in full range (0...255) or video range (16...235) through their "Interpret footage" dialog. This is useful as in some cases you may have graphical assets that are in video range and which must be treated as such. In my case it is necessary for creating test patterns, where individual components are rendered to video range in order to get control over the result as well as adding signals that go beyond video range, such as PLUGE. As it stands, the only graceful solution is using one of the Lumetri presets for converting between "legal range" and "full range", but it has a massive drawback. Either you must apply the preset individually to every item on the timeline, or nest the clips and apply the preset to the nest. This is cumbersome. Being able to simply set the source footage to be interpreted as video range would make life far easier.

You can easily split captions in transcript. enable an exact transfer from transcript to captions.The screenshots show that the transcript and captions do not match. It cannot be converted automatically.This function would make CC WAY easier to control with less time. The way social media is now, CC is extremely important.

I work for a post house in which we turnover edits for color and conform frequently. We often use mixed framerate footage in our edits, including 23.98, 24, 25, 29.97, 30, 50, 59.97, 60 etc. Currently, when you want to send a reference edit with source clip timecode burnin, you use the timecode burn-in function on an adjustment layer. In order to get Premiere to recognize the correct timecode of the source clip on the track below, you have to manually cut up the entire adjustment layer, go into effects controls and change the framerate time display individually for each clip with a different framerate. This is time consuming and can be fixed with a dropdown in effect controls with something along the lines of - match time display of source clip on track 1.Thanks

When creating a font sytle, you be able to save it in a libary to use on other porjects.

If I have to make an arrow or something common, it would be nice to not have to go to PS, create a PNG, import...  I know I can create my own library but I think every editor could use a lot of the basics you see in PS, like arrows, check marks, etc.

I would LOVE to be able to see at a glance what's the FPS setting of the clips in my Timeline!  This optional info could be displayed next to each clip's name.  This would make it a LOT easier to know if a clip was recorded at 60 or 120fps and can therefore be slowed down in a 30fps Timeline without any motion artifacts.  At the moment, I need to right-click on a clip and select "Reveal in Project" to find out what FPS a clip has.  This is time consuming and tedious.  PLEASE add this!  Thank you! 

Roto brush is a great tool, it works only on after effects why it's not added to adobe premiere too, it is imperative to premiere as well as after effects

Hi, I like to quickly toggle between Ripple and Roll tools in Trim Mode with a keyboard shortcut. However, I can't think of one time I have used the Selection tool in Trim Edit mode. Maybe it's how I was trained, but I only want Ripple or Roll. How about you? Not everyone uses Trim Edit, but it's important to me. Perhaps there are edge cases for Selection and fine-tuning trims in Trim Edit mode that I am unaware of. I can't think of any. Let me know if you agree by upvoting.   Why do I want this feature request?   Craft editors would appreciate fewer toggles to get to ripple or rolling edits. A faster way to toggle between the tools craft editors use most.     This is an issue I experience almost every time I am doing fine-trimming. I hope I am not alone in wanting this feature adjusted slightly by removing unnecessary tools from craft editing. Toggle less, enjoy life more. Please, upvote!   Thanks,Kevin

Hi, Learning a different NLE in the 90s, I recall the timeline animated in real-time when making dynamic trims, including audio waveforms - and this was in the 90s. Tracks expanded and contracted as you trimmed. I want that. Do you? Upvote.   Why am I requesting this? Craft editors (especially those that cut dialog) appreciate and expect a responsive trim mechanism. Visual feedback in the Timeline is vital in Trim Mode to see and hear feedback in the Timeline and the 2-up UI for craft editors. A craft editor would also expect dynamic (JKL) trimming, like, nudge edits and rolling edits (especially while looping with Play Around or Looping In to Out) would be equally "live" in the Timeline.   I discussed this request with a community member, but he has not posted it yet, so I went ahead. I hope that's cool with the community.   Please upvote this request for better trimming.   Thanks,Kevin

When Time Remapping a clip, the position of all other keyframes (Opacity, Motion, etc) doesn't get respected relative to the clip.  For example, if there are 2 opacity keyframes at the end of the clip to fade it out, these keyframes no longer affect the clip as expected if it has any Time Remapping keyframes applied to it (even though the keyframes continue to appear in the correct location in the Timeline and Effect Controls window).  The current workaround is to nest any Time Remapped clips and apply all other keyframed effects to the nest, but this is a major PITA! Pr version: 22.6.3OS: MacOS Ventura 13.1 Pr team, PLEASE fix problems like this rather than stroking your egos with pet projects such as the recent interface overhauls that not only failed to help editors in any substantial way, but actually made things worse for most (if not all) users!  Thank you.

When generating peak files in the background, PPro displays an uninformative file by file progress (no overall progress) in the bottom right of the window. It would be better to have more informative progress displayed in the progress window. It would be helpful to be able to resize the progress window so that even at very small size it would display progress bars for all background progesses. Bonus question: is there any documentation anywhere about what exactly the progress window is supposed to do?Here's the search:"Progress Window"? (searching for "Progress Panel" is about the same)Extra Bonus question: Is this a "panel" as suggested by related documentation or a "window" as suggested by the PPro menu bar? R.

Building on Premiere's current ability to open sequences loaded into the source monitor, it would also be very handy to be able to view single clips in a timeline that are loaded into the source monitor. The timeline itself wouldn't be editable, so perhaps it would have a much more distinctive look from the main timeline. We could also extend this feature by grabbing a selection of clips from our mainline and placing them into this phantom timeline from which we can insert and overwrite from.  And yes, this has been inspired by a certain other NLE.

You can make a timeline filled with clips by selecting a bunch of clips and right-clicking "New Sequence From Clip". I organise my reels/clips into separate Bins so it would be very convenient if I could right-click on the Bin to make a "New Sequence From Bin". It would automatically get the name of the Bin and have all the clips therein in the new Sequence, ordered by filename (number). Right now I have to create an empty Sequence, name it appropriately and drag the desired Bin to that Sequence. Three actions that can be combined into one right-mouse click!

I would love the ability to copy and paste durations.  

Sometimes the only way to shake the bugs out is to restart the program, and the only option now is to quit, wait for it to shut down, and then restart, and wait again. I'd like to click "restart" and be able to move to another task while I wait, or go do something away from my computer for a few minutes and come back to a reopened program.

https://www.facebook.com/groups/BCPANY/permalink/3490184714559517/  I was asked post this to the group as a 'feature request' for the PPCC engineers/coders. Back in CS6/7 (pic 1) the Source & Program Monitors had no black spacing around them. If you look at PPCC then (pic 1) vs now (pic 2), more and more black spacing, even with stuff turned off or hidden. Can we get window more like in Avid (3) or DaVinci (4).