Feature Requests

basically in the subtitles window, when I change from one subtitle to another it takes a second, I suggest that that time or that animation be eliminated so the subtitling workflows faster     [Moderator note: moved to Premiere Ideas section.]

If I have 50 sequences, and suddenly need to modify the name of all of them in the same way (correct a misspelling, add/delete a letter, whatever), I'd like to be able to right-click and do a batch rename find/replace.

It would be convenient if we could just use the zoom tool and click on a region in the program window to zoom in, rather than using the dropdown to choose a percentage and then scrolling around with two scroll bars.

In Prelude, we could use the marker function to manually transcribe and describe the content of clips while simultaneously playing, pausing, going forwards/backwards, and marking in and out in the media. This was a very streamlined method, and the resulting “logs” and transcripts could reach tens of thousands of words divided across very small and precise .xml markers. The producers, editors and directors could find, choose, and pinpoint very specific/accurate and curated content in large projects, both before and during the editing process. “Manual transcription workflow” is the key phrase I´m trying to convey. This was especially helpful in documentaries with serious or sensitive content, as manual transcription is far more precise and reliable than automatic, meaning that the log can be trusted both for creative and archival reasons.  A manual “logger” can also receive direction and make choices regarding what is important to record, and what is not, as well as become very fami

Is it possible to change the default intensity of the new auto color feature in the Lumetri panel to 100 instead of the current 50?  I find myself typically preferring the 100 intensity and am constantly having to adjust up to 100 after I click "auto".

This somewhat new feature that was taken from FCP 7 is an annoyance and I see it tripping up lots of editors who lose track of which project they are making changes to. And honestly, we already had the better "Import Project" function to do anything multiple open projects might help editors with.   It is a change for the worse & I want it reconsidered.

It would be great to add 'Dropbox' to the list of online services available in the Export window's 'Publish' settings.  I realise that the obvious answer is to render the file to the computer's local Dropbox folder, where it will be automatically synced.  But in a lot of situations, I upload finished videos to a Dropbox folder which isn't synced on my local machine.   This online-only folder may contain many gigabytes of video files, and it's not economical to keep them synced to my local hard drive because they're generally used to send to clients, not for my own viewing.  (My finished video files are rendered to external storage, then uploaded via the Dropbox web interface.  By not syncing this viewing folder to my hard drive, I'm avoiding having duplicate versions of the same rendered video file on my computer.) If Premiere Pro/Media Encoder could add Dropbox as an export option, it would be great to see the folder tree of the user's connected

Live Caption would be optimal. idk if there isnt the option or if i am to blind, but highlighted words if they speak would be very nice. The caption shows you very word as they speak it but there is no feature to do this for your video. this would be very nice for shorts. with a little box around or just coloring the spoken word for a moment instead of white it is idk blue for the moment and then white again. the video is my own so no CR problems

When I use dynamic link to import a clip from AE that has protected regions, it would be helpful if we could see the markers (and the span between them) on the clip.

Since using 'Production' for editing series I often stumble upon the problem that I have project panels opened with the same name. It often concerns general names of bins that I use in every project, like 'Footage', or 'Sequences'. When too many projects are open, because I often have to copy footage from one project to another, it is becoming increasingly difficult to immediatly know which 'footage'-panel belongs to which project. Wouldn't it be useful to have the ability to color label the tabs to create some order? Alternatively (or also) the ability to show the project name of the bin inside the panel tab would be useful, for example: project_name/Bin:bin_nameP.S. My appologies for crossposting in the discussion forum. I noticed the 'ideas' forum after posting there.

Hi, guys. As I can see, no one suggests this so everyone is OK with those motion tracking capabilities Premiere Pro has. Well, I'm not. I suggest and beg Adobe to improve them. Right now Premiere Pro can do a simplest motion tracking of an object on a contrasty background and it does it +\- not bad if the object moves along x\y axes, but should it move closer to or farther from the camera and\or rotate PP loses the object quite often. In all my cases when I was trying to motion track with PP's native tracking tool, the software lost the object at some point. In ALL cases. And surely you don't have a perfect contrast everytime, so PP loses practically every time. The strangest thing happens when PP loses the a black dot of a white background - this I cannot understand.There is a Motion tracking for objects plugin which is based on Premiere Pro tracking so this one does not much  help either. You can use something like Mocha but it 1) costs and 2) is not as friendly as Premiere

When I save a workspace, the project tabs location doesn't save when using the custom workspace. I've spoken to support and I was told that the software doesn't currently support doing this which to me doesn't make sense to save half the workspace and not the rest.   [Moderator note: moved to Ideas section of this forum so that 1) it is flagged to the devs and 2) it allows other users to upvote your suggestion.]

I am growing ever frustrated with premieres use of absolute paths to media.  We work with a lot of freelancers and when I download a project they have been working on, I can spend sometimes 10 minutes just relinking the files (another side annoyance is the adobe file finder used to find files...it sucks...please let us use the os native file finder to find files, it would be different if yours was better, it is not)   Now to add to the frustration, today I discovered that premiere does not save the most recent absolute path, but the original.  Yesterday I was working at home and had to relink a bunch of files for a project.  Today I am at the office and when I relinked, a bunch did not auto relink as they had the absolute path to the files from the original editor, not the absolute paths from my relink yesterday.   It is absolutely rediculous that adobe is using absolute paths in the first place, nothing is gained and a lot is lost (a lot of time that is) &nbsp

My current situation is our company vernacular, Felician, is mistranslated 100% of the time in videos I subtitle using Adobe Sensei in Premiere Pro.  I cannot use the Find & Replace feature because Felician is associated with various words.  I have to manually find and correct the mistranslated company vernacular - a tedious and time consuming task.   Solution: Create a process where company vernaculars can be sent to Premiere Pro developers to add to the permenant word list of Adode Sensei algorithm. Or associate the vernacular to one word so I can use the find & replace feature. This will be extremely helpful.   [Moderator note: moved to the Ideas section of this forum.]

I wish there would be any button on the sequence timeline so that when it was enabled it would allow to zoom on the nested sequence that have that button on to preserve the quality as it happens in after effects. I will report an example. I've been asked to replace the screen of a projection during a talk. The camera was static during the shooting and the client wanted me to give some movement to the shooting.I replaced the screen with the source material (4k videos) and to do it I had to scale it down to make it fit inside the screen.To create some zoom in and out I nested the composited sequence so to zoom in and out easily without having to take care of the zoom of the projection and the entire frame of the shooting.Of course the quality has been lost in this way. If there was the button I'm asking for on the sequence timeline, enabling that botton premiere would zoom using the source clip so to avoid a loss of quality on the replaced screen during the zoom in operation. I hope this

It would be incredibly useful to be able to play both source and program monitor at same time.  Or at least give us an option in preferences to prevent program monitor being paused when source monitor is played. I would use this to trial out different background musics to play over my program.

Hi, guys, support me if you need this feature back (especially in the light of Adobe's decision to get rid of the Legacy Titler. We need STROKE effect in any way added to Premiere Pro, either as an effects plugin or a preset. Unfortunately I didn't find any third-party plugin giving Premiere Pro the ability to add that.The reasons: 1) I need to add stroke to pngs with transparency. I can do it with Essential graphics but THIS IS SO ANNOYING and inconvenient, plus I literally get no ability to further change the png once it has been bruoght to the Essential graphics or the firther editing is too limited and inconvenient. 2) I cannot add stroke to a video+alpha channel. If you put such footage to the Essential  graphics you cannot change its lenght, speed or time of the footage needed. And the essntial graphics does not accept NESTED files.Instead, you either have to do the editing in Ae where there IS a stroke effects, or do alotta preediting to the emulate this effect within Premi

Make Clicking "Position" on a Transform layer and then clicking and dragging the video to move the clip, similar to when you click on "position" under motion properties. Here's what I mean... If you click on motion... You can now click and drag anywhere on the preview video to move the scale, rotation, and position properties. This is great for keyframing. However... If you add the transform effect (which essentially does the same thing), it doesn't allow you to do the same thing. A lot of the time, I add transform to get the motion blur effect when zooming and adjusting positioning.This is how it looks when you click on "transform", but it doesn't let you click and drag the preview... It looks the same as above when you click on "position" under the effect, too.I'm hoping that you guys can hopefully update this effect in the future so that you can click and drag to move the video, much like you can on the motion properties, itself. This will help speed up rete

Remove the restrictions on the number of LUTs in Premiere. Now it supports about 350-400 LUTs, which is not convenient when you use different stylizations for different tasks and you need to try others, and not delete and throw others.#LUTs limitations | fix it

Add the ability to add LUTs to favorites so that you can easily and quickly use it in different projects without searching among hundreds of LUTs.#Favorite LUTs | add feature

1. Add the ability to support the display of folders with the contents of LUTs in them. When adding LUTs to the Premiere product directory, there is no structure in the program itself in the Technical and Creative tabs and the LUTs are scattered in a mix with the standard ones and there is no way to track a specific LUT in an unordered structure.2. Second, add the ability to add LUTs to favorites so that you can easily and quickly use it in different projects without searching among hundreds of LUTs.3. Third, remove the restrictions on the number of LUTs in Premiere. Now it supports about 350-400 LUTs, which is not convenient when you use different stylizations for different tasks and you need to try others, and not delete and throw others.4. Fix it the behavior of displaying LUTs in the viewing screen on the Limetri panel. Now, every time you view Luts and apply it to a clip, viewing new ones begins anew. This is extremely inconvenient and not practical. Consider displaying the LUT in

This is a very helpful function in AE that seems like it would translate perfectly into Premiere.

Currently, working with color in Pr is "neutered".To automate and align the white balance in 1 second and with one mouse movement, you need an offset wheel. The second, the offset wheel, performs global tonality adjustment in the image, reducing manipulations with the main color wheels.I demand to add an offset wheel to the workflow of colorists.

Not sure what to search to see if this question has been asked / answered though I'd love to be able to open my FX panel x2. I have multiple monitors, one of which is a fullscreen pancake timeline display.  Currently, I keep the FX panel to the right of the timelines as a narrow vertical column, hiding the keyframes.I'd love to be able to have the same window duplicated on the screen to the left of this, wider to allow for keyframe editing.Currently, I'll either reframe the window so I can continue to see the timeline and add keyframe view or I'll go full screen on the FX panel.This may be a unique request and not sure if it's feasible with Premiere's current programming since the two panels would have to communicate with one another.Thanks!

The EVENT panel is neat but useless. I click on the event and should be able to access that event. For example... me render is complete and it gives me the popup with the link to view. If I close that window, and then access the event I should have the same access, no?? Please add that to your next round of fixes.