Feature Requests

Imagine: Add a Cut to a Videoclip or Graphic-Element, then edit Scale and/or Postion Values on either Side A or B, apply this new Transition Effect to the Cut---> instantly you have a nice Animation from Values A to B -all without any Keyframes!adjusting Easing and Duration would be nice and additional Motion Blur would be the Ice on the Cake.Christian

It seems like it would be relatively easy to have an attribute for any video or image element that allowed you to add a stroke of any color, thickness, and corner roundedness, like shapes do in Photoshop or Illustrator. This would be particularly useful for any instance of picture-in-picture type use. There are a number of inelegant workarounds for this, of course, but they're all a major pain to implement.Thanks!

Very irritated by the new project creation and export interfaces. Please put back the old versionIt wastes a lot of time and, apart from making things more complex, brings nothing good

very annoyed by the new project creation screen. it only serves to waste time

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I use the guide, ruler and nofx buttons on the source monitor a lot but every time I reopen a in PP it reverts to the original lineup of buttons and I end up needing to manually adding them again.

Hello, could you please fix the problem in Transkript (transcribing), unfortunately i can't edit the text anymore and have to restart the whole program to be able to for two changes, then it is not reacting again.

Premiere Pro doesn't really seem to use 100% of the available Apple SoC power. Has Premiere really been fully programmed to work natively on M1?Even though the M1 Pro has dedicated H264 encoders/decoders the playback is lacking sometimes. The sad story is that for some time it's totally fine but then after a few minutes it's starting to slow down...

na hora de transportar o vídeo do source para a sequencia o arquivo de audio não acompanha o video

Hello,Premiere Pro begins to be involved everywhere.... So it happens that one could be lead to import an Avid MC Timeline into PremPro. Avid provides a very sofisticatet AAF, plenty of possibilities like "Link only Files", "copy Files", "consolidate Files" and you have to chose.I chooesed copy files because I wanted to begin from scratch in Prempro. The Problem: Avid puts the files in a Folder called AvidMediaFiles, so far so good... Ther you find an MXF Folder, sometimes an Omf Folder.If you do a normal AAF export in AVID the Edit-protocol will refer to the original files, which usually are MXF and where videotracks and audiotracks are separate tracks. A MXF File out of cam can have 1 Videotrack and 8 Audiotracks. This means there are 9 trracks grouped into one Videoclip. And that's the point where Premiere Pro isn't able to group this 9 tracks together and show it up as one Clip in the project. Why that? Davinci Resolve does it by the way without problem. Is this a bug? Relinking tr

When you click 'Replace footage…' in the Project panel in Premiere, if you choose an After Effects file, rather than giving you the option to select a composition from within that file, an error message reads 'The importer reported a generic error', and then the footage is replaced with a media offline error.It should instead be possible to select a composition. This is useful when using the raw footage as a placeholder during assembly before adding effects in After Effects at a later point.

When using the essential sound panel, the auto-match loudness feature is nice to have...but it gives no indication that it is working.A progress bar, or even just a wheel beside the button that rotates to show that it is doing its thing, would be a nice reassurance that the reason not all the clips are showing that their loudness has been matched is not because I missed them when selecting, but because it is currently working on it. Sometimes it finishes in a few seconds, but in larger projects, it can take several minutes.

I used to be a user of fcpx and Da Vinci, that is, the index function (index) they have. I searched for it in PR for a long time but couldn't find it. I asked my colleagues and they said no. Can you give me some suggestions? I think that function can speed up the editing efficiency.

I was exporting a sequence that had a lot of effects on it. During export a number of warnings popped up on screen mentioning frame substitutions, etc. It would be great if markers could be generated and placed on the sequence at those spots so that you can easily review and fix those issues.

The apostroph key used to be the shortcut for extracting a piece of a clip marked bij I and O. The Backspace key seems to have come in its place, but removes a piece before of after the marker.

BUG: in Premiere Pro 23.1, "New / Black Video" doesn't work"Also "New/Color Matte" has to be done TWICE to work correctly

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.