Feature Requests

Neither of these is a big deal, but sometimes it's not intuitive where to find these options...   First, would love to be able to change my sequence name in the sequence dialog...     and I think it would be more intuitive if you could access the starting timecode option in the sequence settings...   Once I found it, it's an easy thing to do...  but this option should at least be also available in the sequence settings and the new sequence dialogs...     I don't have a clue about how complicated these suggestions would be to implement, so ignore the ideas if these might create problems...  I think we can all agree that we don't need more bugs...  and Adobe, thanks for listening...  and have a happy new year...

The current way to add and manipulate transitions on the timeline is a sort of "guess & check" method, you've got to have the right amount of handle frames before you add it, and the way it is displayed isn't very visually appealing.I propose adding the same functionality that Audition has, where overlapping clips will automatically create a crossfade. This is an incredibly intuitive way of handling transitions, and can also be applied to Video transitions (as is done on other professional NLEs). See attached gif for an explanation of what I mean.Currently, overlapping clips on the timeline will create a cut. For editors that use this functionality as a shortcut (no pun intended), this "auto crossfade" feature would be optional (easy to toggle on/off on-the-fly).I think this would be a great way to increase productivity for transitions, as well as avoid accidentally losing your work by inadvertently overlapping clips when moving things around en masse on the timeline!

there is very usefull command "Move Playhead to Cursor" for Timeline Panel. I wish there will be the same kind of command for Effect controlls panel. So you can very easy move playhead without hovering the mouse up and down everytime you want to move playhead and adjust some parametrs 

Something very helpful in Resolve and FCP - the option to live preview any media in the source window. As I hover my cursor of a media file in my project panel, it is a MUCH better experience to have it sync/preview to the source monitor instead of only in the project/bin panel. This makes it easier to identify things in footage and quickly mark ins and outs. Two clicks for every file is a massive disadvantage in terms of speed when going through tons of content. 

This is idea 4 of 4 concerning premiere captioning and transcription.  Idea:access to per-word timecode data. The fact that clicking a word in the transcription jumps the playhead to that point in the timeline perfectly tells you that per-word timecode data is indeed captured by Premiere! But you can't actually access it as an end user. "Export to CSV" gives you timecoded BLOCKS of text. For scripting and automation purposes, having access to frame-accurate, per-word transcription timecode would be very powerful.  API exposure to this data would also be fantastic. 

I know I posted this as a feature request a few years ago...  but don't think it's been migrated here.  I'm in the midst of working extensively with markers and it would be great if you could use a marker with duration to either mark an in and out, or convert to subclip reflecting this duration with a shortcut.  Right now I'm marking changes in a sequence from a change list provided by the client.  Since the changes are referenced with sequence timecode (instead of marking up the transcript which would have made my life easier...), I'm adding markers with duration for all the changes in the sequence as the timecode reference will be lost as I start cutting things out and adding or rearranging things...  And would be useful for creating subclips for selex...   Not a life or death situation.  I won't threaten to shift to resolve...  just hoping other people will upvote this and will see this change implemented in my lifetime....  and the clock

Since vertical (9:16 etc.) productions are becoming more common, it would seem approriate to have the Premiere proxy workflow adapt to this. Yet, when making proxies in Premiere, all of the vertical clips are squashed and I have to go through each of them separately. This is a nightmare. At least the Sony FX line cameras detect the alignment of the camera in the beginning of the take and encode the clip accordingly, so I can't see why Premiere makes a 16:9 proxy for a clip that is 9:16. Just a suggestion. Thanks. Peace.

Currently, in the Effect Controls panel, it is not possible to select all the effects at once to copy, cut or delete. Now you have to click with the Ctrl key pressed to choose from a dozen effects instead of one selection. Of course there is a second way through the Attributes of the Clip, but it was incredibly useful. Add this feature to highlight all the applied effects to the clip at once via Effect Controls.  

hi there.   Whenever sequences are made(from clips or nest in timeline), I want Composite in Linear Color to be unchecked in Video Previews section in the sequence setting.      Since I recently worked with hundreds of PSD files and thousands of layers in a single project file, some layers look very different between the original image in Photoshop and the imported footage in Premiere Pro. (layers whose opacity values are not 100%) and I figured out that when 'Composite in Linear Color' is unchecked in the sequence setting, it looks the same as in Photoshop.    I believe there has got to be a way not to change every single setting of hundreds of sequences.

Hi, i like the essential Graphic Tab, As a youtuber it offer a lot of assets for quick edits but i think it could take some rework to make it more relieable and fun to use.    Save a preset of the position, text or all other parameters each essential graphic it offers. It would be cool to be able to save it inside the essential graphic tab in a dropdown menu.   ----------------Mod note: One "Idea" per thread, please. Copy these other requests into separate threads, if you wouldn't mind. Thanks! I changed the title of your post. You can copy/paste the title and just change the number there. ---------------   Second they still lags a lot even on beefy pc, it there is a way to optimize it better, please work on it.   You could also clone the parameters on the effect tab, for a quicker way to edit them, i have always to change tabs and is annoying.   Since this is a tab in my opinion more directed to YouTubers and casual you could expand it to make it more lik

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