Feature Requests

When working with graphics in Premiere Pro, multiple elements often need to stay aligned while remaining on separate tracks. Especially with animations where different elements move based on audio cues or other pieces using transitions.While clips can be selected and moved together on the timeline, there is no persistent way to link or parent elements so they move together within the Program Monitor (canvas). This becomes especially limiting when adjusting position, scale, or layout of layered graphics.Requested improvements:Ability to link or parent graphic elements so their position/transform moves together in the canvas Maintain separate layers/tracks while allowing grouped movement Option to toggle linking on/off as neededThis would simplify working with layered graphics, titles, and composite layouts, and reduce the need for repeated manual adjustments.Thanks for considering this request. 

The Current Media Browser relink feature is now only able to search the entire system, and there is now way to limit it to search just a specific folder. This now means, that when I want to re-link footage, I have to let it search my entire computer and external drive, which takes a very long time. This has completely hindered my workflow, which relies on quick and efficient re-linking, especially because sometimes I don’t know exactly where the necessary footage is, but I at least know that it’s on a client’s external hardrive. Please bring this feature back.  

In many editing workflows, especially interviews, clips need to carry both persistent identity information (e.g., speaker name and title) and context-specific notes (e.g., what is being said in that moment).For example, a clip might need to show:"John Smith / Director, Company Name" (who is speaking) "Explanation of the process" (what this moment is about)Currently, renaming clips in the timeline replaces the visible name, making it difficult to retain both types of information at once.Requested improvements:Separate clip instance labeling from source naming (allow both to exist simultaneously) Ability to display multiple fields (e.g., name/title + description) on clips Toggle or customize what metadata is visible (similar to After Effects’ ability to switch between source and instance names) Allow this information to be visible in bins, timelines, and optionally overlaid on screen Adjustable display based on zoom level or user preference (more detail when expanded, less when zoomed ou

Premiere Pro offers a lot of super useful customization, including workspaces, keyboard shortcuts, labels, presets, and other saved settings. However, these are stored and managed in different places, with inconsistent save/load behavior depending on the feature.It would be very helpful to centralize this into a more unified system.Requested improvements:Save all user customizations into one clearly accessible location (for example, a single folder or profile such as “Tom’s Premiere Stuff”) Standardize save, load, rename, duplicate, and overwrite behavior so these actions work the same way across workspaces, keyboards, labels, presets, and similar settings Add autosave and version history for customization settings, similar to project autosaves, so users can roll back if something is lost or changed accidentally Allow users to load everything at once or load only specific categories when troubleshooting or moving between systemsThis would make Premiere easier to maintain, back up, rest

Premiere Pro’s snapping behavior is currently all-or-nothing. While snapping is useful, there is no way to control what elements snapping applies to in a flexible or context-specific way.For example, when editing music and using beat markers, it would be useful to snap clips only to other music or beat markers, while ignoring everything else (clips, markers, etc.) without having to constantly toggle snapping settings.Additional use cases:Ignore disabled clips when snapping Snap only to major beats, not every marker Ignore clips based on label color Ignore specific tracksRequested improvement:Ability to define snapping rules (what snapping should and should not apply to) Ability to save these as presets Ability to toggle presets via keyboard shortcuts or automation toolsThis would allow users to tailor snapping behavior to specific tasks (e.g., music editing vs dialogue editing), reducing friction and improving precision.Thanks a bunch!Tom 

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。

Premiere Pro currently requires track targeting (V1, A1, etc.) to be toggled individually. In timelines with many tracks, this can be slow, error-prone, and makes it difficult to return to a known state.This impacts editing accuracy and can disrupt workflows that rely on predictable targeting, especially when using Stream Deck or macros.Requested improvements:Commands to enable/disable all track targets (video, audio, or both) Keyboard shortcut support for these actions Reliable triggering for automation tools Optional modifier-click (e.g., Option-click) to toggle all tracks in a categoryProviding global track targeting controls would make it easier to quickly reset and standardize editing state, improving speed and consistency in complex timelines.Thanks for considering this request.

Premiere Pro identifies displays using unstable macOS system IDs, which causes monitor order and naming to change after sleep, restart, or display power cycles.This makes it difficult to reliably identify displays, often results in program output being sent to the wrong monitor, and forces users to repeatedly reconfigure settings. It also breaks workflows that depend on predictable behavior, such as Stream Deck or macro-based setups.Requested improvements:Consistent display ordering (for example, by resolution) Clear labels that include resolution and, if available, manufacturer/model (e.g., 3840x2160 – Dell U2720Q) An “Identify Displays” button to visually confirm monitor assignments The ability to assign a display for output and have Premiere retain that assignment across sessionsReliable display identification and persistence would remove repeated setup and make multi-monitor workflows stable and predictable. Thank you!Tom

Posted under wrong account—please disregard or delete.

In Beta 26.3.0, I discovered Range Markers have been added!  So I ask, “what can I do with them?”Turns out not much.What I’d like to see is a batch export timeline sections using Range Markers.  Simply add “Range Markers” to the “Range” dropdown on the export dialog.  It would then export the Range Markers as separate files with the parameters from the settings. For file names it could use the Range Marker Name (if available), or just add a numeral to the file name in the dialog.The idea is to work like CD Track Markers in Audition. You set up the range markers on the timeline, rename them, then export to discreet audio files which retain the marker names.When I have to slice up a longer file to shorter ones,  I currently have to set in/out for one section, open Export panel, make sure range in/out is selected, name the file, then mouse all the way down to the Send to AME button and click (no keyboard action can complete the export). Then rinse and repeat for each section. It will be m

When I turn a transcript into captions, I also want to split each speaker into their own Subtitle track and do other mass formats and edits based off this. Whether at the start, when turning the entire transcript into captions, or later on if I forget or the need arises, I would like a way to be able to select all the captions based on filters in the Transcript pane.Surely it’s possible for the program toa) add this track-per-speaker option when converting transcript to captions, andb) retain a link between captions and their entry that they were created from in the transcript and be able to use the Transcript pane to select the captions that were created from them?

It would be nice to be able to find in timeline not just forward (after the playhead), but also backwards.It would be as easy as adding a drop-down menu in the find in timeline box.Sometimes you want to search for a clip that came before your current position, not just after.Thank you!

If I have several sequences in a project, and I use the ‘show duplicate frame markers’ option, Premiere only shows if I’ve used the same frames more than once in that specific sequence. If I’ve used a portion of a shot in one sequence, then create a new sequence and add that exact same portion of a shot, Premiere does not tell me that I’ve already used those exact frames elsewhere in the project. I suggest that it should - or we should at least have the option to switch ‘show duplicate frame markers’ to be either project-wide or sequence-specific.I know I can check in the Project panel’s ‘video usage’ column, but this only shows if some part of that shot has been used, not if I’m potentially duplicating a specific part.I’m now going to have to hunt, manually, for some unused bits of many shots to use as B-roll, with much tedious cross-checking through various sequences.Please upvote this, to save many editors many hours! 😁

Context: Building dynamic, web-based motion graphics (HTML5/React) inside Premiere Pro using CEP is incredibly powerful for live-sports and broadcast editors. However, there is a massive missing link when it comes to motion. The Feature Request: A native wrapper function inside the CEP Extension that allows us to command Premiere to "record" or "bake" our panel's DOM (or a hidden webview) into a video file with an alpha channel. The Problem: Currently, if I have a 3-second CSS animation (like a team logo bouncing with a glow), there is no native way to bake this HTML animation into a transparent video clip on the Premiere timeline. The Solution: We need an API method to capture a web animation at 60 FPS for X seconds, and losslessly import that result directly onto the active sequence as a transparent video clip (e.g., ProRes 4444). This addition alone would make Premiere Pro the single most powerful NLE in the world for web-to-video workflow integration.

Context: I develop complex, data-driven custom CEP extensions for Premiere Pro. While the HTML/JS side of CEP is great, communicating with the host application is a major bottleneck. The Feature Request: Please bring Premiere Pro's scripting DOM into the modern JavaScript era. Automating the Premiere Pro timeline using ExtendScript (.jsx) feels like traveling back to 1999. The Problem: Writing ECMAScript 3 without modern arrays, map functions, or native Promises makes writing complex sequence automation very painful and error-prone. The current CSInterface.evalScript() flow is deeply outdated. The Solution: We need full ES6+ support and a Promise-based API for interactions with the host app. Ideally, we need Premiere Pro to transition to the modern UXP architecture that Photoshop currently enjoys, while retaining full access to automate the Premiere Video Tracks and sequence timeline.

Context: As a sports video editor and plugin developer, I’ve built a massive HTML5/React-based CEP extension for Premiere Pro to generate dynamic overlays (scoreboards, rosters). Currently, to get these overlays onto the timeline, I have to rely on complex workarounds like running a separate Node.js server with a headless Puppeteer browser just to capture my React components with transparency. The Feature Request: We urgently need a native method within the CEP API to silently capture a specific DOM element inside our panel and save it directly to disk as a PNG with transparency. How it should work: Something like: cep.fs.captureNodeListToImage(domNode, exportPath, { format: 'png', alpha: true }) Why it matters: This would instantly eliminate the need for heavy, external rendering pipelines for static web-based overlays. It would make Premiere Pro vastly more powerful and accessible for broadcast-style web integration natively.

Hello Adobe Dev Team! Would you please simplify the process of Removing the "Background" of any clip in Premiere Pro? I mean to make the Background of the clip TRANSPARENT. To achieve this important goal, a NEW One-click AI-Powered Effect should be introduced. For example, would you please install a trial version of the well-known "TechSmith Camtasia" video editor, and see how easy to remove a video background from within this App? All you need is to go to the "Visual Effects" tab in the left pane then select "Background Removal" effect and then drag-and-drop it on top of the desired clip in the Timeline, and that's it! the AI will do the whole job automaticlly & effectively! Thank you in Advance

With the launch of the Samsung Galaxy S26 Ultra and the integration of APV into Android 16, there is a growing need for native support within Premiere Pro. APV is an open, royalty-free, Intra-frame professional codec (IETF RFC 9924) designed specifically for high-end mobile cinematography and post-production.As professional workflows increasingly incorporate high-quality mobile acquisition, Premiere Pro and AME users need the ability to import APV footage without the time-consuming step of transcoding to ProRes or DNxHR.Why this is critical for Premiere Pro: Professional Specs: APV supports 10-bit and 12-bit depth with 4:2:2 chroma subsampling, making it a primary source for high-dynamic-range (HDR) and Log workflows. Editing Performance: Unlike HEVC, APV is an Intra-frame codec. Native support would allow for smooth, "buttery" timeline playback and scrubbing without the overhead of predicting frames. Open Standard: APV is standardized by the IETF and included in the FFmpeg 8.0+ li

Currently, the VideoTrack and AudioTrack classes expose a read-only name property but provide no way to rename tracks programmatically. In ExtendScript/CEP, track renaming was straightforward via direct property assignment (app.project.activeSequence.videoTracks[i].name = "newName"), but this capability has no UXP equivalent.Requested API:Add a createSetNameAction(inName: string): Action method to both VideoTrack and AudioTrack, consistent with the existing Action pattern used by AudioClipTrackItem.createSetNameAction, VideoClipTrackItem.createSetNameAction, and ClipProjectItem.createSetNameAction.Thanks!

Premiere 2026 projects cannot be downgraded for import to PR 2026 or earlier due to changes in the 2026 project data structure. Recent discussions about this have not yet been ported to the new forum. The primary previous feature request is here, but may be missing some interim posts. Also, it was primarily an explanation for how to use the non-Adobe methods for changing the project file version number. https://community.adobe.com/feature-requests-730/open-premiere-project-in-older-version-downgrade-project-version-1329162?postid=1329162#post1329162 At a minimum, there needs to be a method for downgraded a PR 2026 project to 2025. A longer term issue is the need, for years, for a more robust converter or for the After Effects procedure for doing a “save as” from a later PR version to some number of earlier versions. January 26, ​@hellopaul4 started a thread titled “Has version "2026" killed the ability to downgrade a project to a previous version?” The most important reply was by ​@Fer

I have a documentary with a voice over artist that edits his takes as individual wav clips. So I have a folder with over 100 VO clips. I can transcribe these to do Text based Editing. But I can't find a way to change ALL the hundreds of clips of the same voice Speaker Name to the narrator. It seems this would be metadata? I can't find Speaker in any of the metadata lists unfortunately. So I guess its saved outside the actual clip within the transcipt.  I'd like to be able to change the speaker of all clips I select as a batch function. In some cases this would cause problems when there are multiple speakers, so it would have limited use to clips that are all the same person. But still a very usuful feature.  

The Film Impact acquisition brings great video transitions to PPro. But working with them is clunky, as there is no way to remove multiple transitions at once.   Over the past 15+ years editors have used various workarounds which all have downsides.   Workarounds: 1. Change Speed/Duration of all your clips from 100% to a higher percentage (ex. 200%). Transitions are deleted. Problem: Ruins your sequence if you uniquely edited Speed/Duration for each clip 2. Simplify Sequence > Remove Transitions Problem: Creates a duplicate sequence instead of editing your current sequence 3. Select all the clips holding the Ctrl key so all edit points will be selected Press Ctrl+Shift+T to toggle trim type three times so that all out points will be marked in red Press Ctrl+left Arrow to Trim Backwards  once Press Ctrl+Right Arrow to Trim Forward once Problem: Unintuitive.   Solution: I propose 3 simple solutions. Do one, or do them all.   1. Allow Simplify Sequence to a

I work with large volumes of 360 degree footage, and I often receive the footage in one large folder. The camera automatically creates proxies for each clip, so the proxies are already there, but they all have different file names than the full-resolution clip. Because the names are all different and each clip starts at 00:00:00, the automated search does not work when trying to find proxies. This means I have to go through and attach every single proxy individually, which can take hours. If I could search for the proxies by media duration, not just media start, this would shorten the process exponentially. If there’s already a solution for this, please let me know. Thank you!

would like to propose a powerful feature enhancement for Adobe Premiere Pro that can significantly improve workflow efficiency for modern content creators and agencies.Feature Name: Auto Multi Video GeneratorOverview:A tool that automatically converts one long form video into multiple short form videos optimized for platforms like Instagram Reels, YouTube Shorts, and TikTok.Problem:Currently, editors manually create multiple short videos from a single source. This process is time consuming, repetitive, and limits content scalability especially for creators and agencies producing high volume content daily.Proposed Solution:Introduce an AI powered system that:Detects key moments, highlights, and engaging segments Automatically splits long videos into multiple short clips Generates multiple variations with different hooks and cuts Applies dynamic zooms and framing for vertical formats Adds captions and basic styling automaticallyKey Features:Smart scene and highlight detection Automatic s