Feature Requests

Hello, in a previous update, you added the ability to toggle the active Lumetri Color Effect instance at the top of the Lumteri Color panel. This is incredibly helpful when using multiple instances of the Lumetri Color effect. However, manually toggling between Lumetri effect instances with the mouse is extremely slow! I would like to request new keyboard shortcuts for "Select Next Lumetri Effect" and "Select Previous Lumetri Effect” that would toggle the active effect. This would be a huge time saver for editors and colorists—especially those working with hardware control surfaces and panels.

This has been a long time coming.When Premiere Pro outputs playback for ‘unsupported frame sizes’ to a broadcast monitor or client monitor via SDI/HDMI out of I/O hardware (Blackmagic in particular), it stretches the image to fit 16:9 streams. In this day and age, vertical and other frame sizes, 9:16 4:5 1:1, should all be supported. I wish Premiere Pro would, through a setting, automatically add pillarboxes to embed these frame sizes into the 16:9 stream out to the monitors. Yes, there’s a work around for this, but adds to a cumbersome workflow in editing. Davinci Resolve for a while now has a toggle to ‘Use Vertical Resolution’ when outputting to monitors, regardless of I/O hardware. What this means is, it adds pillarboxing and maps it into 16:9 so it’s displayed correctly on monitors. AJA’s hardware now has the ability to do the same mapping, through it’s I/O hardware. It’s hardware is typically much more expensive than Blackmagic hardware. Most independent artists use Blackmagic ha

Context: A lot of times on documentaries and films lots of cameras will start/stop, meaning multiple clips will sync to one audio file. When you add multiple cameras into the mix, it can get a bit crazy. Usually not a big problem if you have timecode lock on the cameras, but often there are cases where you have to sync via another method such as waveform. This isn’t always great because not all cameras run native scratch audio and even when they do, sometimes the waveforms are too generic to where Premiere tries to sync things that don’t actually go together.Problem: When Timecode Sync and Waveform Sync fail, you’re left with having to find a “sync point” and manually sync each clip.Solution: It’d be great if in addition to Waveform audio and Timecode sync, Premiere could use the transcribe and visual analysis AI tools it has built in to sync clips. It would also be nice to create “sync map” sequences that could easily convert into multicam sequences when sync is finished.

I’d love a “Favorites” category in Lumetri. You could add features (like the color wheels or Saturation) to it, then interface with just your favorite controls down there.I feel like I spend half my time color correcting switching between the tabs. I set the black/white points in Curves, refine values in Basic, go to Creative just to turn up Vibrance, then mess with the color wheels. These are basically all I ever use. I have a “favorites” folder for Effects, and love not digging or searching. Can we do the same within Lumetri?

As is possible in AE, it would be a very nice addition to be able to temporarily change the program monitors background to a desired color instead of black. I know, I know, “create a matte and underlay it..” Yes, but: AE can do it too and it makes a lot of sense as a safety feature against having accidental tiny black margins, which can easily happen if you work with letterboxed footage, or the transform effect (does not show clip frame-outlines, as changing scale in “Motion” does). Best, L

Premiere works best for me when Media Cache files and management go to my external.  Yet, if I open up a project with a different preference, it moves it my internal HD without warning.  There is a major drop-off in speed and always takes a while to figure out.  I propose locking the media cache to a location and if the software wants to switch or can’t find your current location, it needs to prompt the user to alert them to the switching of the location.  Would save me a lot of pain.

When using the “Export Frame” button, the PNG format option let’s me choose a Depth setting, but unlike the Path and Format settings, for example, this one does not remember what I picked and always defaults to 8bit on every new frame export. 

Please add this shortcut it would help set in and out points thank u!

Dark mode is nicer on the eyes and looks better in general. For me light mode makes it harder for me to focus because i like to work at night and like ive said dark mode is just nicer on the eyes.

It’s high time we have Hinglish subtitles (Hindi + English), I think its called transliteration.

It would be very useful to be able to sort clips directly within the timeline by common attributes such as filename, recording date, length, or even metadata like the camera or lens used.It would also be great if you could select a specific section of the timeline and perform a rearrangement sort only within that selected range.When working with hundreds of clips, this would be an extremely useful feature.

Why is there still no Android app for frame.io? It is really something I could use for checking video and comments on my phone without using a crappy web browser. And while you're at it, I would love to have that app for Google Chromecast too. It would be so nice to see your result after a long day of editting, on the tv when you are sitting on the couch.  

I am interested in using the content credentials feature that will be released in future versions of Premiere. https://helpx.adobe.com/x-productkb/content-credentials.html?utm_source=chatgpt.com But I have questions about the feature: If I create AI content in Premiere through ChatGPT or some other platform, will I be able to embed metadata about it on export? How will I be able to post the video online so viewers can access the metadata?  Will Adobe offer a way to do this or are there other distribution platforms like youtube or vimeo that will support this function? 

# IssueWhen I try to open a production, only Premiere will open but not the production. It will only open when I go to “File > Open Production… > Select the last production (or search for the folder with the prodset file).Furthermore the projects and sequences that were opened before closing will not re-open when opening the production.I have the same problem regarding re-opening of recent sequences with normal projects (prproj).The setting for restoring opened sequences on start is checked.# Steps to reproduce I open a number of sequences (and projects in case of productions).I close Premiere after saving.I open the project or production.# Expected resultThe sequences and projects that were open on last save should be already opened.# Actual resultEither a random set of sequences will open (in case of projects) or nothing will open at all (productions).In case of projects, sometimes it works as expected but most of the it won’t. I tried if it makes a difference if source sequenc

Right Click your Footage and or Sequence > Split > Split footage in increments of 10 Minutes, 20 Minutes, 30 Minutes. (Insert the specific time of the splice) 

Currently the only way to adjust, say, the position of multiple text layers is to select them all with an image clip also selected as a sort of null object, which the gives the option to adjust the normal Properties parameters allowing you to reposition all the text layers together, but selecting multiple text layers on their own doesn’t give this option. It’s already possible to adjust some parameters of multiple text layers, such as font size, but adding properties would really help.

These old-school knobs might be great if you’re using a mixing deck with real knobs to turn, but when you’ve only got a mouse, they’re a bloody nightmare. No matter how you move the mouse, the value goes flying off in any direction, there’s no consistency, there’s absolutely no fine tuning, and there’s NO ABILITY TO ENTER THE NUMBER WITH THE KEYBOARD!!! Please, just let us type the value we want, as is possible with most other effects. These knobs are basically useless without a mixing deck. 

It would be helpful to be able to move the Anchor Point on the Transform effect in the Program Monitor like with the regular Motion Properties Anchor Point without having to match up the Position and Anchor Point Values manually every time. I'm not sure what the point is in moving the Transform Anchor Point in Program only to have the entire clip move out of place in the frame. 

At the moment there is no working third-party plugin that supports the production of S3D (Stereoscopic 3D, not VR!) in Adobe Premiere or After Effects. The plugin should be capable of editing/shifting/zooming in pixels of Full-SBS, Half-SBS 3D and upper-lower 3D formats. This is needed for stereo video footage such as from the QooCam Ego 3D, Apple Spatial Vision 3D side-by-side format and Acer Spatical Labs 3D camera.

The scenario: let’s say I have a long edit sequence nearing completion and I am adding B-roll from long source sequences. (In longform shared workflow across a Production, source sequences are used almost uniquely rather than clips).  The problem:  if I search for “big house”. (It’s a property programme) in either text or visual, the results are replicated for the items I’ve already used in my sequence. There is one search result for each item found in source sequences (great) but this is duplicated if said item is also in the edit sequence. This results in the search results “doubling up” and giving me twice as many results as there actually are. The solution: have a tick box in the search dialogue that says “Ignore tagged sequences” or even better “Ignore tagged projects” and tag the edit project/ sequences to be ignored. This way the search results from the edit sequence will be ignored.   I was going to suggest putting “ignore open sequences” but the source sequence is likely to be

Hi there.  I know we can lock whole audio and video tracks in a Premiere timeline, which i use a lot.  Suggestion -->  It'd be even better if we had more accurate control over what was locked in a timeline, instead of only being able to lock entire audio or video tracks.  As in, in my timeline, I'd like to be able to click/lasso select single video/audio clips or multiple video/audio clips, anywhere throughout the timeline, and then, JUST LOCK THOSE SPECIFIC SELECTED CLIPS, similar to how I can "enable" or "disable" single clips in Premiere.  That way, for safety, I can lock certain portions of my timeline, and keep working on other parts of it, and know with confidence that no matter what I do, the parts of the timeline I locked are safe.  Often times, when working on small portion of the timeline, I can accidentally hit a key that causes unintentional and undesirable changes elsewhere in my timeline, that only later do I discover, and then have to go

In other editors, this feature is already native and makes editing much easier, as you can cut the video and it automatically moves to another take without having to drag the take. A native and automatic magnetic timeline feature would be a very welcome feature in Premiere.

Hi, I am trying to create caption in Bahasa Indonesia for a Video. But Premiere Pro auto caption allows only few languages such as English, Mandarin, Spanish, German, French and Japanese, etc.It will be helpful if Bahasa Indonesia is available for this feature because my video editing project is in Bahasa Indonesia.

If Premiere Pro is to keep up with market leading NLE's, it desperately needs the ability to work with vector files.  Currently, all vectors get rasterised on import, without any user options about how this is done.  I'm constantly working with icons, logo's, graphics of all sorts in Premiere Pro and the lack of support for vector files has always been painful.  Bear in mind that most icons are created at small sizes such as 32x32 or 64x64, which means that almost all vector icon imports in Premiere Pro are blurry, pixelated and unusable. Further to that, to even get an SVG into Premiere Pro, I have to open it in another program first, export it as a support file type or add to CC libraries, before we can even get it into Premiere Pro.  Also, bear in mind that at the start of a project, the editor may not know what size the icons will be scaled to by the time we get to version 10 of a timeline.  Asking us to manually rasterise it at the correct resolu

With all these AI features added, why is there still no quick way to select a bunch of scattered clips in many sequence tracks (that are in correct timed position) to merge them all into a single track or desired track. Ideal use would be when you have a 2hr event with a lot of recorded files that aren’t recorded start to finish of event but the create multi cam feature scatters those files all into 20-30 different tracks and is such a cumbersome mess to drag them all manually onto single correct camera number track.I've been using the 'alt' key (or option key on Mac) and then pressing the down or up arrow key on keyboard to move the selected clip up or down to the next layer for each press of the arrow key.  There needs to be a away to select all the clips from that camera and auto merge onto desired track!