Feature Requests

I use AE comps often inside PP. I also change the name of my AE comps many times reflecting the nature of the production process. The naming convention is always stuck inside PP as the initial label. I'd love to see this refresh on the PP side when an AE comp is relabled.

Hello my friends, Wouldn’t it be cool being able to take advantage of ADOBE’s own data-hosting-services ?ADOBE’s Video-Player (CCV-Player) can currently display video-clips, but it doesn’t seem possible to switch from Chapter Marker to Chapter Marker, nor to embed Chapter Markers into H.264-clips, when exporting from PREMIERE PRO (v. 23.1). Tell me if I’m wrong, please. I’d love to.Here is a discussion about this topic :  https://community.adobe.com/t5/premiere-pro-discussions/possible-to-embed-chapter-markers-into-h264/m-p/13585979#M453966  As a result, we could take extra care of users/customers/addressees/recipients/people/audiences by the ability to :- display/list Chapter Markers- point with a link to any particular sequences of a video- choose an output-option between «separated sidecar-file» and/or «embedded Chapter Markers» …All this, working for lightweight H.264 videos, accessible via ADOBE’s CC-Servers. Please share/vote if you agree &#1285

With how common emojis are in social media content, I find it crazy that Premiere doesn't support adding these natively. Even Final Cut has this capabilty... time to sort it out Adobe!! 😂

Wouldn't it be nice if it would be possible to watch realtime loudness measuring in the audio tool? Is it possible to integrate the loudness meter in the audio tool? At that point the loudness meter would be dockable, and always open. That would be a huge improvement. The technology is already in Premiere, but it is to 'far away' to be really usefull. 

Since now Premiere can transcribe multiple languages, then it must know how to detect human voice. Then ducking against human voices in footage should be easier compared to the things that it can now do. Just a feature wish.

There's no question about it: in terms of mouse scroll wheel functionality, After Effects is great and Premiere Pro falls flat! Why not give some of AE's basic scroll wheel functionality to Pr? After all, aren't both programs made by the same company and meant to work hand in hand with each other? Great scroll wheel functionality also exists inside Pr itself, but unfortunately, only in the Timeline. The new Text window in Pr 15.1 Beta also adds something never seen before in Pr yet a long time feature of AE: the ability to click-hold the scroll wheel to temporarily invoke the hand tool. This is a GREAT feature! So why isn't it available everywhere in Pr that makes sense? Please see the attached charts which compare scroll wheel functionality in Pr vs AE, and suggests how things could be improved in Pr. 

One of the most common UI annoynances I have with Premiere and AE is how if you double click an icon in the Project panel, but you're off by a few pixels, or accidentall de-select a clip, it opens an import dialogue box instead. This import dialogue should only be activated if you are nowhere near other icons.  In other words, if the mouse pointer is near an icon, Premiere should impliclty assume you meant to click that icon, and not that you meant to import media.    

With people more recently discovering they can work remotely, proxies are very important. With a remote workflow, you'll discover that there is a distinct use for 2 types of proxies. One would be h.265. Cut your bitrate down to 1.5 and now you can send 2 days worth of shoots to an editor. BUT, you can't make proxies in h.264/h.265 for So many pieces of footage because of the audio format.  First off, if original footage has no audio, Please Please ignore a mismatch in audio? It's not going to make a bit of difference, even if someone goes to change the volume. It's blank. Great, moving on...No one wants to have to make Another ingest preset just for the same footage where the camera didn't record any audio. And for another suggestion, let me make proxies based on how I've interpreted the footage, rather than what the original was. I got some Canon footage wrapped as MXF and it was recorded as 4 channel. The audio came out fine, so I don't need the camera audio at all. Ju

Editors often need to export a video to different locations, sometimes at the same time.  A simple way to greatly improve the Export interface (and possibly the Quick Export window as well), would be to allow users to add multiple export paths from which they can quickly pick and choose every time they export a new video.  Please see illustration for all of the detailsNote: using the Media File destination column on the left side is NOT an adequate replacement for the new features being requested since:a) Media File destinations don't sync video and audio settings between themselves, leading to more work and a much higher likelyhood of mistakes whenever the user wants to keeps exports settings the same between export locations.b) It can't be universally applied across projects.c) Selecting one Media File destination doesn't automatically deselect another one that's already selected, leading to more clicks if the user wants to toggle between two or more export locations. 

The problem: The region around a timeline transition where you can mouse-to-distinguish between AB Roll, A-side, B-side, and clip-select modes is a little on the narrow side (approx 14px for A-Trims, 12px for AB-Trims, 21px B-Trims) (Demo) Even smaller if you try to do as trim flag in the vicinity of clip label (Demo) This is no big deal when you're working with a single transition -- one wrong click can be fixed with followup.But when it comes to setting up a complex, multi-track asymmetric trim, one errant mouse click can topple your best intentions like a house of cards. It's a source of never-ending micro-agro time suck. You're 8 clicks in to a 13-track trim, flags facing forward, backward, a the perfect feathered edit at the tips of your fingers, when -- vaffan$#@thwak! - you AB trimmed Audio 9, or segment-selected video 3, and you have to start over. (Demo) To make matters worse the very context where you tend to set up a lot of trim flags (tall time

The style presets in the Legacy title were very easy to see and use.The only way to display the Essential Graphics text styles is to show the icons in the project panel. We need a dedicated panel for styles that is easier to use.The styles are managed on a project-by-project basis, so when you create a new project, the styles you've been using are no longer available.Styles should be available at all times.エッセンシャルグラフィックステキストのスタイルのために、レガシータイトルのようなスタイルプリセットウインドウがほしい。レガシータイトルのスタイルプリセットはすごく見やすくて、使いやすかった。エッセンシャルグラフィックステキストのスタイルは、プロジェクトパネルにアイコン表示する方法しかない。もっと使いやすいスタイル専用のパネルが必要。プロジェクトごとの管理なので、新規プロジェクトを作ると、今まで使っていたスタイルが使えなくなる。スタイルはいつでもに使える状態にして欲しい。

First off I have to say as a photographer I love Photoshop's Liquify face tracking tool and the neural filters. You can even import video and track someone's face and tweak certain features (nose, chin, eyes, etc) in Photoshop. I find it to be easier, quicker, and more efficient than After Effect's face tracking where it's not as straight forward and you have to set up the face tracking first. I would love if Adobe added support so like with the "Replace with After Effects Composition" feature we had a "Replace with Photoshop Composition" feature so we can track and liquify someones face in photoshop and then bring it back into Premiere. Currently your only option is to export the Photoshop video and then import the video into premiere. This decreases video quality having to export it. Another option would be to simply port Photoshop's face tracking liquify tool and maybe some of the neural filter skin smoothening to Premiere so we don't have to go back and forth between programs

The sliders are an okay start, but more customizability would be good. Sometimes the built in options aren't the best.  For example, when I'm grading HDR content on my OLED monitor, I like to do it with the lights out to avoid as much ambient light pollution impacting my ability to grade the deep shadows in HDR content correctly, as well as just in general impacting the perceived exposure of different elements on screen. HDR is meant to be seen in a dark environment, so ideally I want to grade it as such. However, when viewing HDR content in premiere in Windows, even the darkest parts of the UI at the darkest setting are still fairly bright due to the low contrast way windows tonemaps SDR content on an HDR display. While I can reduce the Windows SDR brightness setting to mitigate this slightly, even at its lowest setting, the darkest UI elements in premiere measure at 1.5 nits, which is 17% of the way through the PQ EOTF already. While this can work, I believe there is s

Bonjour. J'ai installé Premiere Pro hier soir pour la première fois. Je n'y connais absolument rien et ai décidé de me former en autonomie. Je suis donc totalement débutante et inculte sur le sujet ahah. Je souhaite donc suivre les vidéos tutorielles proposées directement par Adobe et qui ont l'air super bien faites. Mais seulement, elles sont en anglais. Tout mon environnement est lui en français. Alors je me demandais si quelqu'un savait comment avoir accès à ces vidéos tuto faites par Adobe en français s'il vous plaît ? merci d'avance.

When exporting frames from Pr, I do so for 2 different reasons:1. Still images taken from my edited video to give to my client2. Temp images to confirm titles or other details with client I always want these images to go to 2 different locations:Still images --> Project's Export folderTemp images --> Desktop for easy locating to send to client by WhatsApp before deleting Adding a 'Desktop' shortcut to the Export Frame window would make it extremely easy for users to decide on the fly if they want to send their frame to the current location in the Path bar or to their Desktop.  Of course, users can navigate to their Desktop using the 'Browse...' button, but then their previously seletected path gets lost in the process.  This is inconvenient and annoying.  The solution is simple: add a Desktop shortcut button!  Thank you!

Pr's Tools window is of little help to anyone who uses much faster keyboard shortcuts to access their tools. Why not supercharge the lowly tools bar so that it can contain all of a user's favorite items?! (audio/video clips, titles, transitions, effect presets, etc.) For all of the details, please see illustrations. Final Cut Pro 7 had something similar to what I suggest but it was far more limited. To make this tool even more incredibly user friendly, users could choose to enable tool bar shortcuts. Doing so would display tiny numbers 0-9 in the top right corner of the first 10 positions/slots of the bar. Any items stored in these slots would become accessible through the keyboard shortcuts Ctrl (or other modifier of user's choice) + the corresponding number. In the case of media stored in the tools bar (video, audio, title), pressing its corresponding shortcut would make it appear in the Timeline at the playhead on the first enabled video and/or audio track that's empty (to

The universal convention for selecting items works as follows (in MS Windows’ Explorer, MacOS and all convention-respecting software, including most Adobe programs): Ctrl (Cmd)-select = selects or deselects individual items, one by one. Shift-select = selects the range of items between a selected item and the Shift-selected one Ctrl (Cmd)-A = selects all items   Unfortunately, Premiere Pro has major consistency issues when it comes to how items are selected. This results in user frustration/confusion and a much less than ideal workflow. Here are the issues and proposed solutions:   Project Window: Shift & Ctrl-selecting/deselecting works as expected in all views: Icon, List and Freeform. With a current selection of clips, Ctrl-selecting another clip and then Shift-Ctrl-selecting yet another clips allows a second range of clips to be selected. This works in Icon and List view but not in Freeform view. Solution: allow Shift-Ctrl-selecting additional ranges of clips to

PROBLEM: A clip has Motion keyframes set at its first and last frame. The clip also has an outgoing cross dissolve applied to it. The user wants to adjust the position, scale and/or rotation keyframes at the end of the clip, but cannot see the clip in the Program Monitor because of the cross dissolve which gives the clip an opacity of 0% on its last frame.  WORKAROUNDS: a) Drag keyframes to be adjusted outside the range of the transition, adjust them, and then drag them back to the clip's last frame. A side effect of this workaround is the user won't see the clip’s correct frame in the Program Monitor while adjusting keyframes, nor will they be adjusting those keyframes in the correct context with regards to other clips/elements in the Timeline. b) Cut or move the transition, modify the keyframes, and then paste or move the transition back.  When users are modifying a clip in the Effect Controls Panel (ECP), they want to see the results of their modifications, ALWAYS! Therefo

It would be great to have a 'Contiguous selection' checkbox added to one or all of Pr's colour key effects.  Photoshop allows users to choose between contiguous or non-contiguous color selections, which is extremely helpful.  Why not Pr? 

It would be a HUGE timesaver to be able to drag and drop or move media in the Timeline with the confidence that NO media outside of the Timeline's visible bounds will ever be overwritten by mistake.  An overwrite warning is the simple solution.  It would help editors avoid having to constantly zoom out to paste safely and zooming back in to resume editing, or undoing/redoing to confirm nothing was deleted by mistake.  Please watch this video for the full explanation:https://www.youtube.com/watch?v=S5yjiwsWrZE&feature=youtu.be   

This illustration says it all: 

Overlapping icons are bad design.  Here's the solution: 

Using Ctrl-C + Ctrl-V to copy and paste does not work. Users have to copy the clip the speed keyframes are on, and then use the 'Paste Attributes...' option from the destination clip's context menu, deselect all attributes minus 'Time Remapping' to avoid mistakes, and then click 'OK'.This is a terrible workflow because it is:1. Inconsistent, since it breaks the basic copy/paste function that works on all other effects2. Tedious, since it can require up to 6 steps vs 23. Completely illogical. A workflow that requires users to consult Google or the user manual just to figure out how a supposedly simple thing works is NEVER a good workflow!Why does the speed effect break all conventions? (Including the inability to edit Speed keyframes in the ECP?)

When using Lumetri's Hue Saturation Curves to edit a specific color, it's common for users to want to adjust two or more of that color's properties: hue, saturation, luma, etc. For this reason, it would be extremely handy to be able to Shift-click on a color with any curve's color picker to simultaneously set the same keyframes on the other curves! 

The current context menu that appears when right clicking on a Video transition in the Timeline offers very little help. I strongly suggest making this context menu intelligent by giving users access to options that make sense, such as recently used and favorites. See illustration for more details.