Feature Requests

When I create captions from a transcript, I often catch spelling mistakes, punctuation issues, and incorrect names while working on the subtitles.It would be really helpful if corrections made in the captions could also update the original transcript. On a long project with hundreds of subtitles, having to correct the same mistake twice is pretty time-consuming.

In the properties panel, it would be nice to have an align tool for footage. Let’s say I have a single clip in a 9x16 sequence, and I reduce the scale so that the clip doens’t fill the whole frame, it would be great to press an align tool to have it automatically snap to the top or bottom of the frame, instead of doing a position adjustment manually. 

Hi All,   Note: ONLY Windows version of Premiere Pro is suffering from the following:   Adobe, It would be AWESOME if "Dark Mode" was COMPLETELY dark, the current UI looks like it is half-baked and inconsistent. I spend a lot of hours creating videos, and this inconsistency is hurting my eyes. Photoshop looks way better but still suffers from the inconsistent theming as well (still have light dropdown menu)   Parts that need to be properly themed: 1) Title bars 2) Menus bar 3) Dropdown menus (both, the one under the Title bar and the one that appears when clicking the right mouse button) 4) Maybe I missed something too ???   My suggestion is to include TWO theming option: Light Theme And Dark Theme that will make the UI COMPLETELY dark

The ease of identifying tracks in the timeline is very important. In the current situation, instead of the boundary line, I create a thin track. I also divide the tracks according to the type of telop. I think it would be very manageable if you could color the tracks.   Furthermore, when using many tracks, it is difficult to understand mute and solo with "switch only". I'd like to have a net mark like when the track is locked, or a visual cue for the entire track once it changes color.   タイムラインのトラックに、ラベルカラー機能がほしい（任意のトラックに色をつけたい）   ・タイムラインのトラックの識別のしやすさはとても重要。 ・現状では、わざわざ境界線の代わりに、細いトラックを作成したり、テロップの種類別にトラックを分けたりもする。 ・トラックに色がつけられるとても管理しやすくなると思う。 ・さらに、トラックを多く使用する時、ミュートやソロが「スイッチだけ」では分かりにくくて困る。 ・トラックをロックした時のように網の印をつけたり、色が変わってほしい。 ・トラック全体に対してトラック全体にビジュアル的な目印をつけてほしい。

When going through interviews to correct transcripts I want to be able to watch video in sequence at 1.5 speed or 2x  speed

When clicking the “Select All Matching” tool - it would be awesome to have a filter where you can only select the Enabled/Disabled clips. In my case I would like to select all “Disabled” clips so I can ripple delete (instead of going through the timeline and manually selecting all the Disabled clips). However when I press “Select All Matching” (after selecting a clip) it will just select the matching SEQ/Footage/etc.Also if there’s a way of doing this I would love to know thank you!  

I understand why you can’t add masks with tracking to source effects, but why can’t I just add non-trackable masks?Use case: I have a timeline with clips from 10 different interviews. Every time Subject A’s interview is used, I want to create a vignette using Lumetri with an ellipse mask. The mask never moves or is tracked, because the interview shot is a lock-off.Currently I need to copy and paste the Lumetri effect to every instance of that clip on the timeline, which is slow and tedious. It also means if I want to tweak the mask or the effect, I need to remove it again and re-copy/paste.Adding the effect with a static mask as a source effect would solve all of these problems.

If the object motion tracking features were added to the premiere 2026 version, it would have been very useful for professional editors like us, except for the other new features that have been added.They are excellent.

It would be helpful if when you clicked on a text layer in the Timeline, the layer it coresponds to in the layers list of the Properties panel was automatically selected.This would make it WAY easier and faster to change the font size of multiple text layers quickly.Right now you have to click on the text layer in the Timeline, then select the layer again in the Properties menu, then adjust the font size (even when there are no other text layers in the same graphic). Thus if you have multiple text layers on the timeline, it becomes extremely time consuming to try out different font sizes.

It’s been over a year since the CleanFont hack has been removed, and the general user interface font is still incredibly small. All of the new AI stuff is great, but being able to red the screen is something we need to do EVERY DAY.  Can we please have some kernal of knowledge that this is being addressed?

AV1 has been becoming a more and more popular codec for not just streamers, but also content creators and filmmakers. Video hosting platforms, such as YouTube, are now implementing AV1 as a way to easily stream video content to audiences at lower bandwidths. Filmmakers, and especially content creators, are asking for AV1 for creating high quality content without too much compromise for file sizes and ease of use when viewing. Having the benefit of AV1 video will help with preserving the best image quality at a much smaller and efficient file size than codecs like H.264. HEVC/H.265 is supported in Premiere Pro and it's a very nice codec. In fact, both HEVC and AV1 perform very similarly. However, it would be wonderful to have the flexibility of additional codecs that are gaining traction in modern media. HEVC isn't supported everywhere, largely due to their licensing slowing down adoption. Meanwhile, AV1 is open source, so it would be easier to adopt without the concern for li

I cannot mute effects globally without first activating the program panel. Please make it available throughout Premiere , or also available in Effects Control panel and Lumetri Panel. Does this not make more sense? Constant low grade annoyance for me as I grade, to mouse all the way across my screen just to toggle effects off and on.

As a Creative Cloud User (single user only) I would like to to see Feature Enhancement for this level to include Passphrase protection.To move to Pro Level is not viable if you are not doing work for commercial gain.Maybe a ‘small’ annual subscription would be appropriate - but I mean small !Just an idea.No Frame.io Forum from what I see (third party operated ?) so including in Premiere Community.Sending emails to Frame.io support produced nil result - not even a no, sorry.

Hello ! Context :I'm using Premiere Pro daily with a timeline opened in my Source Monitor to have a similar configuration than the "Toggle Source/Record" from Avid. I find this workflow to be a lot more precise and pleasing than pancaked timelines, as you can anticipate exactly the start and end frame when puttings clips on the program timeline, and use the two monitors efficiently. This way of working in Premiere works actually works, but there are a few annoying bugs and small things missing that are really painful when using this workflow daily. This bug/feature which is here since a long timeline is one of the reasons this workflow sometimes feels painful (see this and this topic). The bug :Open multiple timelines both in the Program Monitor and the Source Monitor through the wheel and "Open in Timeline".Save the project and close Premiere Pro.Reopen the project.The previously opened timeline in the Program Monitor will be reopened, but the previously opened tim

Batch export subtitles in TXT format from multiple clipsI work with a lot of testimonials and would like a feature that allows me to export the transcripts generated by Premiere Pro in batch—covering multiple clips—so I can create a script or something similar based on those various transcripts.

I've been a Senior Editor for 24 years now. My specialty is editing multicam footage. When I've only got 10 cameras, it's okay. But more often than not, I get between 20 and 40 different sources, because most of the time, I'm called in to edit major shows. I come from the AVID world (where we see labels in multicam, as shown in the image below).I'm more often asked to do my projects in Premiere these days. Not being able to see the labels on my timeline is really annoying. I need to find my bearings quickly. For a number of reasons, such as observing whether I'm using a source too often or fixing the same problem on a source every time I edit, it's crucial that I can see the labels directly on the timeline. It's a no brainer!Thank you for considering my request and to the other editors, share, vote, make this request a reality!!!! Martin Julien 

It would be great to have this ‘nest/comp’ UI breadcrumb in Premiere Pro like it already exists in After Effects. Especially when you have more than a couple levels of nests in your Premiere sequence, it's often a pain to navigate back through the different levels of your nests.  AE breadcrumbs showing the direction of the comps (nested) Premiere doesn't show the nests in any particular order of the levels, so it gets pretty confusing to know the flow of the nests once you have a couple in your sequence.  

As a long time multicam user, I would be grateful if there was a feature where, when editing multicam clips and selecting the respective camera, a different label color would appear for each camera. This way we could have a better overview of our edit and also select label groups and pasting some effects or flatten only the cameras that we want.

In 2026, when you mouse over clips in the timeline, there’s cross dissolve boxes on the clip on booth sides.Nice feature, to turn that off. Should be easy. 

Right now, Premiere Pro’s (Pr) enhanced speech is V1. The only way to access V2 is by using the web-based Adobe Podcast. This adds so much extra time. The V2 is so much better than V1. Please add V2 to Pr so it can be done within the Pr app on my computer.

Add a Watch Folder feature, where footage are automatically imported if added to a specific watch folder

I frequently incorporate speed ramps into my work, but the current implementation in Premiere Pro makes the process unnecessarily difficult. Unlike After Effects’ Time Remapping, Premiere Pro’s speed ramping constantly changes the clip length, making it frustrating to refine the timing of edits.Requested Improvements:Consistent Clip Length – Implement a speed ramping method that does not automatically alter the duration of the clip when adjusting speed keyframes. This would allow users to experiment with different speeds and easing without affecting the overall edit structure.Time Remap-like Behavior – Introduce an option where speed ramping functions similarly to After Effects’ Time Remap, enabling intuitive keyframing and easing without disrupting the timeline.Workflow Integration – Provide a way to achieve smooth speed adjustments without requiring Dynamic Link to After Effects. Keeping the entire process inside Premiere would streamline the editing workflow. These improvements

We need a professionnal way to edit a multicam sequence into a target sequence with all the audio tracks included in the multicam sequence.If my multicam sequence have 6 audio tracks, I have to copy them from the multicam sequence and paste them into the target sequence, and cut multicam image + these "unlinked" audio channels ... We want to keep all the audios sources for the mixer or sound editor. But these "unlinked" audios can be a big source of problems during the cutting ... Some audios clips can be desynchronisated, crushed, erased ...And impossible to make a simple "match frame" after that, to recover the 6 audios tracks ... I have to copy TC IN and TC OUT into the timeline, cut the 6 audios clips, et drag and drop into the target timeline ... Not very productive, and so suprising for a software like Premiere to don't have an easy way to nest 6 (or less or more) tracks with a multicam image ...Thank's

Color wheels in Lumetri need granular numeric controls for hue angle, magnitude and so on. Resolve has It, Premiere used to have It in the old color factory plugins. Why can't we have It now? They're essential for professional and efficient color grading.