Feature Requests

Add modifier keys to the selection tool to allow for adding/subtracting clips within the bounds of a marquee. why? Currently there's no fast way to select a bunch of clips in a scenario like this:https://twitter.com/demafleez/status/990285808052686848You could control/command click the individual clips or you could lock the other tracks and marquee the clips in the unlocked track but either route takes waaaay too many clicks. A big drag if you do this alot. Please revisit the selection tool and expand on its functionality by adding modifier keys to the mix.

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Timeline pasting is a daily, 'everybody-uses-it' editing function. So why has it still not been improved?Vastly improving pasting is simple: Give users the ability to choose 'on the fly' where they want their media pasted or insert-pasted:1. on the lowest enabled track (current behavior)2. on the highest enabled track3. on the same track in was copied fromBy providing new shortcut options, EVERYONE would be happy:1. Users who like the current way pasting works wouldn't notice any difference.2. Users who want media pasted to the highest enabled track where there's always the most free space to paste into would simply need to assign keyboard shortcuts to the 2 new functions offered: paste and insert paste to highest enabled track. If they plan on using these new options most or all of the time, they could set it to the default Ctrl+V and Ctrl+Shift+V shortcuts, while assigning other shortcuts to the current Paste/Paste Insert functions, should they ever want to use them.3. Users who wou

Please allow the user to be able to select “same as source” audio channels in the export settings of both Premiere Pro and Adobe Media Encoder. This is to allow fixing the audio channel mismatch error you might get when working with proxy workflows. The reason I am requesting this and hoping to get it upvoted is when we receive footage shot across a wide variety of cameras, i.e. Canon C300 / GoPro / Drone / Canon 5D / Other various cameras that may be using different channels other than “Stereo” or even switching the channels halfway through a shoot card, then creating proxies is extremely difficult as you have to then manage the export settings across all files versus just batch encoding all the files based on source. This is a very large problem for me when I receive 1-2+ TB of media shot across various media and therefore my workaround is to use Davinci Resolve to export. Would love to start keeping this all in Adobe at some point. Thank you for your support.

Previously it was possible to assign a shortcut to switch between showing audio time units or not on the timeline. This no longer seems available in custom shortcuts in Premiere 22.6.2 on Windows - please can you restore this as it speeds up the audio editing process significantly.Otherwise it requires lots of clicking and mouse movement to switch back and forth between video and audio time units.

Ce n'est pas une idée, mais une critique qui vient d'un utilisateur professionnel. Je suis extrêmement déçu de dernières versions de Première Pro. On perd trop de temps avec vos changements. On a perdu la colorimétrie rapide, on a perdu l'affichage des informations sur les clips dans la timeline, le titrage qui est devenu plus compliqué pour moi. Bref, je cherche à migrer sur Final Cut par votre faute. Avez-vous seulement des monteurs professionnels dans vos équipes pour tout changer comme ça sans qu'on y trouve un mieux ? Ou est-ce seulement un délire d'informaticiens qui se moquent complètement de ceux qui utilisent le logiciel ? Je travaille sur Mac et depuis Avatar, c'est le bazar pour utiliser de façon fluide et rapide Première Pro. Je regrette amèrement d'avoir fait les mises à jour, aujourd'hui je perds un temps fou à cause de vous.

Please get rid of the “division bar” between video and audio tracks so when you scroll vertically it works over the whole timeline or maybe implement a checkbox in the settings where you could activate or deactivate this behavior.

The percentages feature in the Dip to Black / White transition was so handy. I was able to set percentages to how I wanted each transition to end.

Please allow us to keyframe sliders in essential graphics.

Save settings (with all effects applied) of an audio track.I use a couple of effecst standard. Would be very helpfull to safe presets with many effects at once.

I wanted to export my transcript in an editable form such as notepad or word doc. Am I missing how to do this? I don't know how to open a .prtranscript file and can't find anything on it. I want to be able to take the script out of premiere and make changes.

In Transcript: Export to text file.. To make this useful it needs to take clip name (all takes on timeline) and timecode info across so my (old school) documentary director can make a paper edit from interviews etc. Then provide me with time codes to build the assembly. (often barked down the phone!)If I was self-directing and doing a project entirely within Premier. fine, I wouldn't need to export anything.But filmmaking is a collaboration and the director doesn't want to touch the edit program but happy to look at text in Word or similar.If the exported text file looked the same as what I see in the Transcript window that would be perfect. With Speaker (Custom)name/number, line number (from captions window - v.useful ), AND TIMECODE !!Thanks, MarkMy first test and the AI worked amazingly on a boomed IV clip to get nearly all text correct! Exciting times!

Please include the option to retain folder structure when managing a project via the Premiere Dialogue.We go through great efforts to maintain an organized project, both within Premiere but also at the Windows Explorer level. It's incredibly frustrating that if we try to move a project, archive a project or just generally manage the project that Premiere takes all the files and dumps them in a messy pile in one folder.We've stopped using it entirely, instead opting to copy assets manually and re-linking the project to the assets. It's a tedious process and doesn't allow for trimming or transcoding.

(Perhaps "current view indicator" is a better name than "ghost playhead.")Here is the problem: The (cyan, user-controlled) playhead does NOT necessarily correlate to the frame that is being shown in the program or source monitor.Sometimes, an old frame continues to be displayed, even though the user clicked elsewhere on the timeline (or "time ruler," as Premiere calls it.)Depending upon computer specs, network bandwidth and latency, video codec, and other factors, it can sometimes take several seconds for the chosen frame to actually load and be displayed.In the meantime, users need some kind of indication as to which frame is currently being displayed. This would be "the ghost playhead," which could perhaps be colored red.If the normal playhead IS NOT on the same frame as the ghost playhead, it should be a different color, perhaps purple. This could be called the "Pending playhead."If the normal playhead and ghost playhead ARE on the same frame, they should combine to form a different

When I do training, a lot for people save their media on the Desktop or in Documents. I often spend several minutes teaching people how to add Desktop or Documents folders as favorites. It's very confusing to people that the Media Browser does not show folders the way that macOS or Windows do. The file browsers in both OS-es show shortcuts to Downloads, Documents and Desktop.Why can't these favorites be there by default?You know you can do it! The Rush team got it right, so do what they did.

For the Lumetri Color effect’s CURVES controls, clicking on the line to create a point will also instantly move the line. (Unless your click is pixel-perfect.) This is very annoying in situations where you want to keep most of the line straight, such as with hue vs hue.Please make it so that when a point is first created or clicked on, the point and line do not move until the user moves the cursor (while holding down left click of course).P.S: Some other effects or controls also have this same issue, like the curves control in the Master clip RED Source Settings, but it's not nearly as annoying there.

Speedramping in Premiere cc 2020 let my eyes bleed like ****.No smooth, but cruel lagging while playbacking the speedramped clip.The rendered file however is fine. Fix that as soon as possible, before I went out of blood. Thanks

please allow me to choose when to get into trim mode instead of automaticly doing so when i extend the edit or trim forword\backwords using the shortcuts

Colour labels for tracks. A feature I would find really useful in Premiere would be to assign a colour label to various tracks.I'm a bit of an obsessive when it comes to keeping my sequences in order and since I do a lot of work with different media formats as well as working alongside lots of different industry creatives involving VFX, animation, live action, documentary and drama workflows it's crucial that I can manage all of that in the edit. So when it comes to organising all the layers of audio and video it would be really useful to be able to select a colour, much like After Effects, and assign it to the different tracks so you can easily keep track of what should be where.I know this might look a bit ridiculous but I made this mock up to help illustrate my point.

Many sequences don't need anything off the GPU Accelerated Effects list, so the GPU just sits there unused while the CPU is chugging away.Please add things to the workload of the GPU so that the CPU doesn't carry the load if GPU resources are available.

I think the sequence markers need radically overhauling. Below are three different suggestions that I think will help. I've also attached an image of how these changes will look:Problem 1: Currently, when you use "track select forward" it ONLY selects clips and not the sequence markers. This makes the tool virtually useless, as it means your markers no longer remain in place!Solution: "Track select forward" tool should select clips AND markers.Problem 2: The sequence markers exist as individual objects, so to change the division of two sections requires resizing BOTH sections. Sections can also overlap, which is highly undesirable.Solution: Sequence markers should not exist as individual objects, they should just be divisions of the overall span. So when you drag to resize, it changes the BOUNDARY between two sections.Problem 3: Like most people, I just want to use markers to divide my video into sections (eg "Intro", "Part 1", "Conclusion" etc). This is currently extremely cumbersome.

When I have a group of shots from the same location I should be able to add and modify the Lumetri Color Effect for all of them at once. Regardless of their position on the timeline. You could add it in the Lumetri panel next to the Master tab. Design three buttons here. Default “Clip” level button. “Master” level button and a “Group” level button. I think this is doable and would make the color correction/grading process more efficient.

I have presets for transitions i have downloaded and NEED to save them as favorites and or presets. i tweak them, change them and need to save them. How is this not a thing as it was so prevalent in Final Cut?!

When I have multiple clips selected that have attributes that match, I would like to be able to adjust them all at once. For instance scaling multiple clips, or setting the panner or opacity or position. I would like all attributes that have the same value to appear and be adjustable at once within the effect panel, without having to copy and paste.

Now we can paste effects in multiple master clips with keyboard shortcut and disable them from the drop down menu, but if we want to remove the effect we have to do it clip by clip.The master clip effects should be handled exactly like on the timeline with the Paste Attributes and Remove Attributes dialogues.