Feature Requests

I find I often have to add in captions because the Transcript missed dialogue or sounds that I need to add in. If I press the “Add new captions segment” + button in the Captions pane, sometimes it’s greyed out because there’s not enough space to add one before the next caption, and other times the one it creates will absorb the next caption to create one big caption, delete the text that was in that next one, and replace it with default text (this is very frustrating and I can’t see a time when this is useful).My feature request is: If there’s not enough room to put a default sized caption in the track before overriding the next one, just shrink the new caption to fill the space rather than absorbing the next one or greying out the button. 

Auto-transcribe and the creation of captions from these transcriptions are great features - but, I find myself spending a lot of time tidying up the way captions get split up, and then tweaking how they have been cut against the timeline. Point 1: I often need to combine many captions after they've been generated from a transcript. Premiere will often split a sentence up into 3 or more separate captions, and I have to manually 'combine' them afterwards, despite setting the max 72 characters, and 6 second duration (single line) in the caption window. Perhaps we could have the option to have a higher character count in this panel to begin with? Point 2: I spend a lot of time adjusting the captions to fit in with existing cuts in the timeline. Oftentimes, the auto-generated captions will cut from one to the next, anywhere from 1-10 frames either side of an existing cut in the video clips in my sequence - This is jarring for the viewer, as the scene changes and then 5-10 frames l

Every time I use the automated captions within Premiere I go in and line up the captions with the cuts that I've made to the clips. When the captions aren't lined up with the cuts it feels jarring when watching the playback. Wouldn't it be amazing if the captions just snapped to the edits automatically?

Feature Request: Telugu Speech-to-Text Transcription in Premiere ProI would like to request native Telugu speech-to-text transcription support in Adobe Premiere Pro.Currently, Telugu is not available as a transcription language in the Speech-to-Text feature. This creates a significant gap in my editing workflow, as I regularly create content in Telugu and rely heavily on captions for accessibility and audience engagement.At the moment, I am forced to use external AI tools to generate Telugu subtitles and then import them back into Premiere Pro as SRT files. This breaks the workflow, increases editing time, and reduces overall efficiency. It also feels limiting as a paying subscriber, since AI-powered features are expected to streamline the editing process within the software itself.India has a rapidly growing creator ecosystem, and Telugu is one of the most widely spoken languages. Providing native support for Telugu transcription would not only improve productivity for existing users

Dark mode and light mode follow the system, just like in Creative Cloud and Acrobat client applications.

Premiere Pro’s transcription system can struggle with proper names, non-English words, and repeated terms. In long-form projects, this can result in the same word being mis-transcribed many times, requiring manual correction throughout.For example, on a recent primarily English project the word "Amigos" was the title of a group of people and it was mentioned hundreds of times. It was transcribed as something different and very problematic.There are a lot of requests for this already, I’d suggest especially the ability to flag low-confidence words almost like spelling errors with the red lines under them in a word processing program.Requested improvements:Ability to add custom words or phrases to a transcription dictionary Search/replace and replace-all functionality within transcripts Ability to teach the system preferred corrections (learning behavior) Optional highlighting of low-confidence words in transcriptsThese features would reduce repetitive manual fixes, improve accuracy for

Premiere Pro currently uses a built-in transcription system with limited flexibility. There is no option to connect or authenticate with external transcription services.This limits users who prefer or require different transcription models for accuracy, language support, or workflow integration.Requested improvement:Ability to connect to external transcription services (e.g., via login or API key) Option to choose which transcription service or model to use per project or sequenceAllowing users to select their preferred transcription service would improve accuracy, flexibility, and adaptability across different types of content.This is not to say there shouldn’t be the default transcription service that already exists, just other options might be nice. Thanks!

Premiere Pro already has Scene Edit Detection for video, but there is no equivalent way to detect and cut between different speakers in dialogue.In interview-driven projects, it would be extremely useful to apply a similar workflow to transcription or speaker detection, so editors could automatically add cuts when a new voice begins instead of manually finding each speaker change.Requested improvements:Automatic speaker detection (diarization) integrated into transcription Ability to add cuts at speaker changes, similar to Scene Edit Detection Option to group or label clips by speaker Option to place different speakers onto separate tracks automatically (for example, speaker 1 on V1/A1, speaker 2 on V2/A2) Optional color-coding of speakers in the timelineThese tools would make it much faster to structure interviews, separate speakers, and build rough cuts from dialogue.Thank you to the Adobe geniuses!Tom

When working with graphics in Premiere Pro, multiple elements often need to stay aligned while remaining on separate tracks. Especially with animations where different elements move based on audio cues or other pieces using transitions.While clips can be selected and moved together on the timeline, there is no persistent way to link or parent elements so they move together within the Program Monitor (canvas). This becomes especially limiting when adjusting position, scale, or layout of layered graphics.Requested improvements:Ability to link or parent graphic elements so their position/transform moves together in the canvas Maintain separate layers/tracks while allowing grouped movement Option to toggle linking on/off as neededThis would simplify working with layered graphics, titles, and composite layouts, and reduce the need for repeated manual adjustments.Thanks for considering this request. 

The Current Media Browser relink feature is now only able to search the entire system, and there is now way to limit it to search just a specific folder. This now means, that when I want to re-link footage, I have to let it search my entire computer and external drive, which takes a very long time. This has completely hindered my workflow, which relies on quick and efficient re-linking, especially because sometimes I don’t know exactly where the necessary footage is, but I at least know that it’s on a client’s external hardrive. Please bring this feature back.  

In many editing workflows, especially interviews, clips need to carry both persistent identity information (e.g., speaker name and title) and context-specific notes (e.g., what is being said in that moment).For example, a clip might need to show:"John Smith / Director, Company Name" (who is speaking) "Explanation of the process" (what this moment is about)Currently, renaming clips in the timeline replaces the visible name, making it difficult to retain both types of information at once.Requested improvements:Separate clip instance labeling from source naming (allow both to exist simultaneously) Ability to display multiple fields (e.g., name/title + description) on clips Toggle or customize what metadata is visible (similar to After Effects’ ability to switch between source and instance names) Allow this information to be visible in bins, timelines, and optionally overlaid on screen Adjustable display based on zoom level or user preference (more detail when expanded, less when zoomed ou

Premiere Pro offers a lot of super useful customization, including workspaces, keyboard shortcuts, labels, presets, and other saved settings. However, these are stored and managed in different places, with inconsistent save/load behavior depending on the feature.It would be very helpful to centralize this into a more unified system.Requested improvements:Save all user customizations into one clearly accessible location (for example, a single folder or profile such as “Tom’s Premiere Stuff”) Standardize save, load, rename, duplicate, and overwrite behavior so these actions work the same way across workspaces, keyboards, labels, presets, and similar settings Add autosave and version history for customization settings, similar to project autosaves, so users can roll back if something is lost or changed accidentally Allow users to load everything at once or load only specific categories when troubleshooting or moving between systemsThis would make Premiere easier to maintain, back up, rest

Premiere Pro’s snapping behavior is currently all-or-nothing. While snapping is useful, there is no way to control what elements snapping applies to in a flexible or context-specific way.For example, when editing music and using beat markers, it would be useful to snap clips only to other music or beat markers, while ignoring everything else (clips, markers, etc.) without having to constantly toggle snapping settings.Additional use cases:Ignore disabled clips when snapping Snap only to major beats, not every marker Ignore clips based on label color Ignore specific tracksRequested improvement:Ability to define snapping rules (what snapping should and should not apply to) Ability to save these as presets Ability to toggle presets via keyboard shortcuts or automation toolsThis would allow users to tailor snapping behavior to specific tasks (e.g., music editing vs dialogue editing), reducing friction and improving precision.Thanks a bunch!Tom 

 I’ve started working with separate subtitle tracks for my speakers, but unless I’ve “Toggled active caption tracks” using the eye button on the track, this message above shows in the Captions pane.I feel like this shouldn’t be a problem for the program to handle. Just show me all the captions in the active tracks. Add a column to indicate which track each caption is in. Is there really something configured on the back end that makes combining workflow and editing of captions impossible?(and doesn’t take up much more screen space, such as a whole pane per track).What is the unbridgeable disconnect between the user experience and the data architecture that I’m not seeing here? 🤔

Premiere Pro currently requires track targeting (V1, A1, etc.) to be toggled individually. In timelines with many tracks, this can be slow, error-prone, and makes it difficult to return to a known state.This impacts editing accuracy and can disrupt workflows that rely on predictable targeting, especially when using Stream Deck or macros.Requested improvements:Commands to enable/disable all track targets (video, audio, or both) Keyboard shortcut support for these actions Reliable triggering for automation tools Optional modifier-click (e.g., Option-click) to toggle all tracks in a categoryProviding global track targeting controls would make it easier to quickly reset and standardize editing state, improving speed and consistency in complex timelines.Thanks for considering this request.

Premiere Pro identifies displays using unstable macOS system IDs, which causes monitor order and naming to change after sleep, restart, or display power cycles.This makes it difficult to reliably identify displays, often results in program output being sent to the wrong monitor, and forces users to repeatedly reconfigure settings. It also breaks workflows that depend on predictable behavior, such as Stream Deck or macro-based setups.Requested improvements:Consistent display ordering (for example, by resolution) Clear labels that include resolution and, if available, manufacturer/model (e.g., 3840x2160 – Dell U2720Q) An “Identify Displays” button to visually confirm monitor assignments The ability to assign a display for output and have Premiere retain that assignment across sessionsReliable display identification and persistence would remove repeated setup and make multi-monitor workflows stable and predictable. Thank you!Tom

Posted under wrong account—please disregard or delete.

When I turn a transcript into captions, I also want to split each speaker into their own Subtitle track and do other mass formats and edits based off this. Whether at the start, when turning the entire transcript into captions, or later on if I forget or the need arises, I would like a way to be able to select all the captions based on filters in the Transcript pane.Surely it’s possible for the program toa) add this track-per-speaker option when converting transcript to captions, andb) retain a link between captions and their entry that they were created from in the transcript and be able to use the Transcript pane to select the captions that were created from them?

It would be nice to be able to find in timeline not just forward (after the playhead), but also backwards.It would be as easy as adding a drop-down menu in the find in timeline box.Sometimes you want to search for a clip that came before your current position, not just after.Thank you!

If I have several sequences in a project, and I use the ‘show duplicate frame markers’ option, Premiere only shows if I’ve used the same frames more than once in that specific sequence. If I’ve used a portion of a shot in one sequence, then create a new sequence and add that exact same portion of a shot, Premiere does not tell me that I’ve already used those exact frames elsewhere in the project. I suggest that it should - or we should at least have the option to switch ‘show duplicate frame markers’ to be either project-wide or sequence-specific.I know I can check in the Project panel’s ‘video usage’ column, but this only shows if some part of that shot has been used, not if I’m potentially duplicating a specific part.I’m now going to have to hunt, manually, for some unused bits of many shots to use as B-roll, with much tedious cross-checking through various sequences.Please upvote this, to save many editors many hours! 😁

Context: Building dynamic, web-based motion graphics (HTML5/React) inside Premiere Pro using CEP is incredibly powerful for live-sports and broadcast editors. However, there is a massive missing link when it comes to motion. The Feature Request: A native wrapper function inside the CEP Extension that allows us to command Premiere to "record" or "bake" our panel's DOM (or a hidden webview) into a video file with an alpha channel. The Problem: Currently, if I have a 3-second CSS animation (like a team logo bouncing with a glow), there is no native way to bake this HTML animation into a transparent video clip on the Premiere timeline. The Solution: We need an API method to capture a web animation at 60 FPS for X seconds, and losslessly import that result directly onto the active sequence as a transparent video clip (e.g., ProRes 4444). This addition alone would make Premiere Pro the single most powerful NLE in the world for web-to-video workflow integration.

Context: I develop complex, data-driven custom CEP extensions for Premiere Pro. While the HTML/JS side of CEP is great, communicating with the host application is a major bottleneck. The Feature Request: Please bring Premiere Pro's scripting DOM into the modern JavaScript era. Automating the Premiere Pro timeline using ExtendScript (.jsx) feels like traveling back to 1999. The Problem: Writing ECMAScript 3 without modern arrays, map functions, or native Promises makes writing complex sequence automation very painful and error-prone. The current CSInterface.evalScript() flow is deeply outdated. The Solution: We need full ES6+ support and a Promise-based API for interactions with the host app. Ideally, we need Premiere Pro to transition to the modern UXP architecture that Photoshop currently enjoys, while retaining full access to automate the Premiere Video Tracks and sequence timeline.

Context: As a sports video editor and plugin developer, I’ve built a massive HTML5/React-based CEP extension for Premiere Pro to generate dynamic overlays (scoreboards, rosters). Currently, to get these overlays onto the timeline, I have to rely on complex workarounds like running a separate Node.js server with a headless Puppeteer browser just to capture my React components with transparency. The Feature Request: We urgently need a native method within the CEP API to silently capture a specific DOM element inside our panel and save it directly to disk as a PNG with transparency. How it should work: Something like: cep.fs.captureNodeListToImage(domNode, exportPath, { format: 'png', alpha: true }) Why it matters: This would instantly eliminate the need for heavy, external rendering pipelines for static web-based overlays. It would make Premiere Pro vastly more powerful and accessible for broadcast-style web integration natively.

Hello Adobe Dev Team! Would you please simplify the process of Removing the "Background" of any clip in Premiere Pro? I mean to make the Background of the clip TRANSPARENT. To achieve this important goal, a NEW One-click AI-Powered Effect should be introduced. For example, would you please install a trial version of the well-known "TechSmith Camtasia" video editor, and see how easy to remove a video background from within this App? All you need is to go to the "Visual Effects" tab in the left pane then select "Background Removal" effect and then drag-and-drop it on top of the desired clip in the Timeline, and that's it! the AI will do the whole job automaticlly & effectively! Thank you in Advance

With the launch of the Samsung Galaxy S26 Ultra and the integration of APV into Android 16, there is a growing need for native support within Premiere Pro. APV is an open, royalty-free, Intra-frame professional codec (IETF RFC 9924) designed specifically for high-end mobile cinematography and post-production.As professional workflows increasingly incorporate high-quality mobile acquisition, Premiere Pro and AME users need the ability to import APV footage without the time-consuming step of transcoding to ProRes or DNxHR.Why this is critical for Premiere Pro: Professional Specs: APV supports 10-bit and 12-bit depth with 4:2:2 chroma subsampling, making it a primary source for high-dynamic-range (HDR) and Log workflows. Editing Performance: Unlike HEVC, APV is an Intra-frame codec. Native support would allow for smooth, "buttery" timeline playback and scrubbing without the overhead of predicting frames. Open Standard: APV is standardized by the IETF and included in the FFmpeg 8.0+ li