Feature Requests

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.

When working with the Transform effect on a clip, or adjustment layer, it often automatically defaults to changing the anchor point if you try to manually reposition the clip.It would be incredibily helpful if there was a lock symbol that could lock the anchor point on the Transform effect so that it becomes impossible for the anchor point numbers to change. I have edited lengthy videos where halfway through I accidently changed the Anchor point, thinking it was the position, and then the entire rest of my Transform effect keyframes were incorrect and I had to do them all over again, which wasted a lot of time.Anchor point should be defaulted to locked, as most people will never need to adjust it.Same with ‘auto bezier’. It should NEVER default, yet when creating position keyframes, they ALWAYS 100% of the time default to auto bezier…In 20 years of editing, I have NEVER needed auto bezier.Thanks.

I already see Hindi. Which gets me hyped up

After Effects allows you to use Bicubic, bilinear, and nearest neighbor ("draft") for scaling. (Also known as "sampling" or "interpolation.")Premiere should absolutely have the option for the Motion effect to use Nearest Neighbor. (It would still be bicubic by default, as it is now.)This is very important for sprite art, screenshots, screen recordings, etc.Here is a forum thread on the issue from 2012, where most people unfortunately don't even understand what the problem is:https://forums.adobe.com/thread/1061901NOTE: The TRANSFORM effect currently has the option for bilinear and bicubic. It would be good to add nearest neighbor here, but that should not be the ONLY place where it is available. The Transform effect still has severe issues with buggyness, instability, and choppy movement. Again, it is important that the MOTION effect has the option for Nearest Neighbor.

I wanted to share an idea on integrating time sheets directly into Premiere Pro to streamline our workflow. By utilizing extensions (or markers/metadata panels within the workspace), we could track editing time per sequence or project automatically. This would eliminate manual entry and improve client billing.

I’m working on a project, and I go to reference another video with the context of referring someone to watch a previous video for education purposes, I pin a short clip of the referenced video on the timeline just above the major video then scale it down so it draws the viewer for just a brief second to the referenced video I like them to eventually go and look at. I would like them to see the whole full referenced so if I could add hyperlink on the video so when they click it or a text that says “click here for full video it will take them there. Just like in YouTube except this video is not on YouTube its on Instagram so it's not like I could make card for it. So what if you guys allowed hyperlink embedding write on the timeline! That would be a game changer because then we could reference videos on platforms lime TikTok or Instagram or anywhere where the link will take them and just embed it on something they could click. Make sure when you guys follow through with this, I get my Cr

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

Hi Adobe Team,I am a professional editor working on long-form projects. I’m currently working on a 20-minute sequence that contains over 50-60 clips with the Warp Stabilizer effect applied.Every time I move these clips to a new timeline or nest them, the effect loses its analysis and displays the "New frame sizes; click Analyze" or "Analyze" banner. Manually clicking "Analyze" for 60 individual clips in the Effect Controls panel is an incredibly tedious and time-consuming process.I request the following features: Background Auto-Analysis: An option to let Premiere Pro automatically trigger the "Analyze" button in the background whenever a clip is moved or changed. Global Analyze Button: A single command (e.g., Sequence > Analyze All Warp Stabilizers) that triggers the analysis for every clip in the active timeline at once. This would significantly improve the workflow for editors dealing with high clip volumes. Thank you.

Hi, I'm looking for a way to get Warp Stabilizer to automatically start analysing.I've made a preset(because who wants 50% stabilisation), but every time I add this effect to a clip,i need to go to the Effect Controls, scroll down and click Analyze.Can't it just start automatically? greetings!

Feature Request: Option to retain local audio preview scratch disks within Productions by default on individual collaborators' machines. I work with several other editors and assistant editors, each of us on multiple machines, on a shared Lucidlink volume, using Productions.We are big fans of Productions and big fans of Lucidlink, but do have a small nuisance that we're hoping find a better workaround for. Our scratch disks are set locally (not on lucid), which seems to help render speed during sessions and prevents those with slower upstream connections from getting their bandwidth choked. Often, sometimes several times per day, one or all editors collaborating will need to reset their video & audio previews in the Production's scratch disk to their own individual local non-lucid cache folders. Ideally, there would be an option in Premiere to allow each machine to have its preview file paths stay locally assigned.  Within Preferences>Collaboration perha

Videos shot vertically on DSLR cameras are recorded as 16:9 ratio. When imported to premiere, they display 90degrees sideways. There needs to be a way to simply batch rotate these videos 90 degrees to 9:16 ratio.

When using a project manager, all files are placed in one folder.   When using a project manager, all newly generated files are placed in one folder. File management becomes complicated and very inefficient. Please generate the file while keeping the original folder structure!   プロジェクトマネージャーを使うと１つのフォルダにすべてのファイルが入れられてしまう   プロジェクトマネージャーを使用すると、新たに生成されたファイルは、すべて１つのフォルダに入れられてしまいます。 ファイル管理が煩雑になり、とても非効率的です。 元々のフォルダ構成を保ったまま、ファイルを生成してください！

When using the function Removing Attributes, the checkboxes are not sticky and always revert to a default. This is different from Paste Attributes, where if you change the attributes that are to be pasted, the checkboxes stick - they are “sticky.” This needs to be the same for Remove Attributes.This causes needless extra clicks when I have a multicam sequence and decide to change the colour grade of an angle. But want to keep the Motion settings, for example if the camera was on a slight angle and needs to be reframed.But when I hit my key combo for remove attributes, I always need to uncheck Motion. Every single time. I wonder how many hours over the years have gone to unchecking this box, over and over.So please, make the Remove Attributes checkboxes sticky, so that I only need to do this once. Thanks.

Dear Adobe Team, I’m writing to request the addition of Urdu language support in the Captions and Transcript feature of Adobe Premiere Pro. As a content creator in Pakistan, I often work with Urdu videos, and the lack of this language in the transcription options creates difficulties in producing accessible and accurate content. Urdu is spoken by over 170 million people globally, and its inclusion would greatly benefit creators across South Asia and beyond. Adding Urdu support would be a huge step forward in making Premiere Pro more inclusive and creator-friendly. Thank you for your attention to this request. Best regards,Qasim Zia [personal info deleted by mod]

 Rather than “maximum length in characters”, or even just as another option. It’s far more intuitive to think in words rather than characters. I can’t instantly think of what 42 characters means but I can think what 5 words means.

The Problem (Workflow Bottleneck):I operate a single-person creative studio with two local workstations. When Station A is locked down by a heavy background render or export (e.g., Premiere Pro encoding 4K video), my single-user license prevents me from maximizing my efficiency by editing photos on Station B.Why Current Solutions Fail Solo Creators:Creative Cloud for Teams: Forcing a 1-person business to purchase multiple seats at triple the cost simply to use two machines locally is economically unviable. Account Stacking (Separate IDs): Binds users to separate cloud storage systems, fractured asset ecosystems, and complex billing. The Strategic Business Risk for Adobe (Churn to Open-Source):Because individual plans enforce a hard digital block on concurrent use, solo creators are actively looking at free, open-source alternatives (like Darktable, Luminance HDR, or DaVinci Resolve) to fill the gap on their secondary rendering machines. Once these programs are introduced into a studio

In the current version, the speakers can be separated during voice transcription, but the create captions is still combined together.And you can't select one of the speakers for create captions through the filter in the transcription window.Suggest to add the option to separate the speakers when create captions

The Request: Please expose the native 'Audio Gain' property (adjusted via the 'G' hotkey) in the UXP API for both AudioClipTrackItem and ClipProjectItem. The Problem:Currently, there is absolutely no way to read or write the native audio gain via scripting. It seems that the native gain sits internally on the clip object itself (as a linear amplitude multiplier) and is completely inaccessible, even via the QE DOM.See this post:The Use Case:For editors, the most intuitive and frequently used method to change a clip's basic volume is to adjust the audio gain via the 'G' hotkey. My plugin is specifically designed to support and enhance this workflow.To achieve this, the plugin must be able to read and modify the native audio gain. Using the standard "Volume" effect as a workaround is not sufficient, as users rarely use it for basic volume adjustments. Forcing them to use the 'Volume' effect instead of the ingrained 'G' hotkey would completely undermine the core use case and value of the p

I’ve been looking at Beta 27.0 and playing with the new Colour Management tools.Overall - looks to be good.Using V26.2.2 for main projects.One thing in parallel that is new for me having a new DJI Device with D-Log2 capability.At present this requires manual entry for the downloadable DJI D-Log 2 to Rec 709.If I’m using Panasonic VLog I normally have that covered by ‘Detect Log /Raw footage ‘ settingIt would be useful to have the new D-Log2 conversion done as part of Premiere to avoid mistakenly applying conversion twice.Can we put this on the list for DJI D-Log2 to Rec 709 detected by Premiere?.Thanks 

Colour labels for tracks. A feature I would find really useful in Premiere would be to assign a colour label to various tracks.I'm a bit of an obsessive when it comes to keeping my sequences in order and since I do a lot of work with different media formats as well as working alongside lots of different industry creatives involving VFX, animation, live action, documentary and drama workflows it's crucial that I can manage all of that in the edit. So when it comes to organising all the layers of audio and video it would be really useful to be able to select a colour, much like After Effects, and assign it to the different tracks so you can easily keep track of what should be where.I know this might look a bit ridiculous but I made this mock up to help illustrate my point.

Premiere Pro UXP API: Add Read/Write Access to Text and MOGRT PropertiesI would like to request expanded text and MOGRT property access in the Premiere Pro UXP API.Current ProblemI am developing a Premiere Pro UXP extension to automate repetitive editing tasks, especially subtitle and title workflows.Currently, UXP provides useful capabilities for timeline automation, MOGRT insertion, effects, and other editing operations.However, access to text and graphic properties is still limited.This makes it difficult to build a complete automated workflow for text-based editing.What I Would Like to BuildA typical workflow would be:Existing text/graphic clip"Hello World"↓Read the text through the UXP API"Hello World"↓Insert a predefined MOGRT↓Write the retrieved text into the MOGRT↓Result:The original text is automatically converted into a designed MOGRT while preserving its text content.This would make it possible to automatically convert large numbers of transcript-generated titles or subtitle

object masking needs to be updated, its not clean and smooth when tracking moving objects or putting it over a layer of something

Speech to text caption generation is not available in Marathi language in premiere pro