Feature Requests

era muito mais fácil, intuitivo, e funcional o antigo 

Dear Premiere Pro Team,Let’s be honest—it's time to catch up with the competition and bring Premiere Pro to the forefront of AI-powered video editing.While some recently introduced features may seem trendy from a marketing standpoint, they don’t always reflect the actual needs of working editors who spend hours in front of the timeline.One truly useful and long-requested feature is an AI Video Upscaler.This would allow users to upscale lower-resolution footage to higher resolutions with intelligent detail enhancement—something that is already being done effectively in tools like DaVinci Resolve.Please consider implementing AI-based upscaling in future versions of Premiere Pro. I’m confident that millions of users around the world would greatly appreciate such a practical and powerful improvement.Best regards,Paul Styler

Can we please have the option to disable these grey squares on each end of the clip on our timeline (the transition handles). They are incredibly irritating. I used to be able to click and drag clips with no problem. Now it’s so frustrating to move clips without accidentally engaging with the transition handles to create transitions between clips (which I don’t want to do).We need the option to disable these, please and thank you.And also trying to extend an audio transition doesn’t work. It often makes me trim the clip before of after. 

The ability to copy the text from the 'resolve fonts' dialogue,  the missing footage / relink media dialogue and missing effects. dialogue. Both Premiere and AE.Very useful for communicating/requesting with other team members or copying to search for fonts etc.. 

It should be able to arrange the Highlights in Color Management, big difference between Exposure and Hightlights.

​Please, add this tiny item to the Effects panel context menu:So that anyone can select clips or cuts and add a selected effect or transition in one button-click. It’s time.​

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?

Please add the following settings1. Ability to disable zoom on the program window or change mouse scroll wheel behavior. While scrubbing on the timeline with the mouse wheel it's prone to accidentally moving the cursor over the video and unintentionally zooming causing a frustrating experience.2. Setting to disable the nodes on audio transitions in the sequence timeline. They make it more difficult to make edits in the timeline.   Mod note: The title was changed slightly

From what I can see so far, I think the new Color Mode within Premiere Beta has some awesome features that will make color grading easier, but the controls are a little bit difficult to use.  Keeping the existing controls, it would be great if users could also hover over each color control wheel and use the middle mouse scroll wheel to adjust them.  For bidirectional controls, regular scrolling could adjust vertically and scroll + shift could adjust horizontally.

Would love to see a way to change sequence settings across multiple sequences at once.Right now, if I need to convert a bunch of timelines from 1920x1080 to 1080x1920, I have to go one by one or rely on workarounds like nesting or Auto Reframe. It works, but it’s pretty time-consuming and clutters up the project.It would be great if we could:Select multiple sequences in the Project panel and apply the same changes across each sequence only using one interface If allowing each setting to change could cause problems, do something similar to the properties window where only a select amount of settings can be changed Change things like frame size/timebase/Maximum Bit Depth/Render Quality etc. all in one go Choose how clips adapt (scale to frame, keep positioning, etc.)This would be a huge help for social and multi-format workflows where you’re constantly delivering different versions of the same edits.Feels like a small addition that would save a ton of time.

Hi everybody.I think the whole mono to stereo is a mess in premiere pro.If I look at Protools for example, there is clearly a difference between a mono and a stereo track. And, if you take two mono clips that you drag onto a stereo track, they'll fit in that stereo track and play stereo. And vice versa, if you take a stereo clip, on a stereo track, and you bring it over two mono tracks, they'll split and behave mono.Premiere is lacking this basic feature. Tracks are... I don't even know if they're mono or stereo. If you bring a stereo clip, it's stereo, if you bring a mono clip, it's mono.You can split a stereo clip by going into the audio attributes of the clip in the media bin, and make it play dual mono. But there's no way to take two mono clips (L and R side of a song for example), and make them behave like a stereo clip. In my case, I'm opening an AAF that has all the audio split out in mono, and now my whole session has a ton of mono clips, that I can't bring back to stereo. I've

I have long wanted to see Premiere have the ability to “SHY” video layers.  Once you work in AE, you realize just how powerful a feature this is.  I contacted Jason Levine at Adobe about a year ago who agreed this is a great feature that would be welcomed by many in the Premiere Pro world.  When you work on projects with many layers, you quickly realize how good a feature this would be to have in Premiere.  Many users have templates they use daily with the same dozen of layers that sit there, locked but not out of sight.  Imagine being able to “shy / hide” those layers with a single click on a button.  Pure magic.  Adobe engineers, PLEASE give my idea a few moments of your time. Thank you.

The Warp Stabilizer UI, in its “Analyzing” state, can be improved. Current behavior is to alternate text between “Time remaining” and “% complete / frames processed.” This is good data, but having to wait to see “the other thing” is annoying. Recommendation:Add a simple “progress bar” behind the text, using the secondary UI color (i.e., the same fill color from the Cancel button), which tracks along with the percent figure.  It will be subtle but visible and will not impact text readability. Remove the “alternating text” behavior. Let the text read simply: “3s ~ 76% ~ 309/404 ~ 5fps” -- the numbers should be self-explanatory enough.  But just in case: Also include an on-hover tooltip to display more verbose text for anyone who’s confused.This is more and better data, in the most likely priority order, in a smaller space. Thanks.

Hi everyone, I am a daily vlogger and almost every Vlog starts with some cinematics with speed ramps. I never edit the opacity of a clip in the timeline. Every time I want to do some speed ramps I have to right-click the clip > Show Clip Keyframes > Time Remapping > Speed. I am not able to do this for several clips at once. Each clip has to go through the process individually.  Is there a way to either set up the Sequence timeline to display the Time Remapping/speed keyframes by default or is there a way to set Show Clip Keyframes > Time Remapping > Speed as a keyboard shortcut. I have tried to find both options with no success. I know it is a small task to do but with daily vlogs every second saved counts. Searching here also didn't help Thank you,Mike

If you all haven't used the Facetune app, you're missing out. It's incredible. It can autotrack your footage and with just a few clicks do a great face refinement that includes a ton of stuff (Even more stuff than what DaVinci Resolve can do). It's really good. Adobe should just buy the FaceTune company and build it into Premiere. It seriously is a game changer. No masking/rotoing/tracking, or any other time consuming tasks. Seriously, it's a 10/10 for features and how well it works. It costs like $72/year though, so I canceled after the free trial.It blows my mind that Premiere isn't the leader in all of this. For the cost of Creative Cloud, Adobe should be the ones with all of these amazing features.PLEASE build into Premiere Pro quick-use features like the FaceTune app.Features that are a must from the Facetune app that are needed in Premiere (All of these auto-track and apply the effect with a slider bar for how much you want the effect):Smooth skin (Softens the skin on your face a

Since Resolve just added Spellcheck in their latest update I feel like this is something Premiere should get on top of ASAP, it feels like such a basic feature that should be in the program that just doesn’t exist in any capacity.

I would love to see the Markers Panel to act more like a Excel Sheet Table. Especially becuase I tend to write a bit more into the "Name" field and that is caped at a fixed length and there apperas to be now way to make it expand to be able to see the full name or at least more of it. Maybe adding the abilitty to resize the left side of the markers panel next to the comments field?Maybe it'd be an option to make the name field also visually line break and display the full title (or at least give the option to do this)? Not sure what the solution would be that would be able to be added. But I'd like to see this updated / improved. Warm Regards,Chris

The new Color tab is a great addition, and I’d love to see it expanded further.First, when opening the Color tab, the Effects Controls panel should automatically open alongside the sequence and viewer windows. In the current beta, using the object mask tool without that panel visible makes it impossible to view keyframes or use auto-tracking, which disrupts the workflow.Second, while it’s helpful that we can target either a Clip or an entire Sequence within the Color tab, it would be even more useful to include the ability to target individual tracks. Editors often work with footage from multiple cameras, each with different log curves, and LUTs aren’t always consistent across them. This is especially important since footage isn’t always organized onto a single track.A potential UI structure could look like:Clip > Sequence > TrackThis added level of control would make color workflows more flexible and efficient.

- Transition effects on film impact dashboard panel not working!!!- Enable mercury transmit shortcut for second monitor not working unless I open the preferences window- Default media scaling: fit to frame not working- Grow effect is croping the borders of the object a lot of the times- Marking the in on the source panel is not always resulting in the same frame when put on the timeline- audio scrubbing keeps turning on for some reason- increasing the crossfade audio breaks the clips if the timeline is too zoomed out

The size of keyframes are often easy to miss when trying to click on them. A size preference would be nice to add to the timeline settings. At least twice the size would be ideal.

Hi, I know we got the fancy new search panel but as I see, it’s lacking basic filter functionality based on folder structure.Often I get folder structures with selects, shootings dates, color labels and to put that into context, I need to see the location of those files, best by seeing the folder structure.(Sure, if all was logged into metadata it would be nice but that is not always possible and to be honest, showing a few metadata panels more in the project panel hits the performance a lot and often leads to UI bugs like input fields getting stuck while scrolling and such things).So what do I want to do?The situation is following:A structure like-Day 1--Scene 1--Scene 2-Day 2--Scene 3In each “Scene” folder, there are numerous files, color coded to be selected or to be excluded.Now I want to filter for specific labels but unfortunately the search doesn’t allow for something like Label:Green or Label=Green.A search like “Green” isn’t working either, despite this search/filter is also p

It would be a nice quality of life improvement, if you could export a list from all offline media during or after the scan.I don’t only talking about a file list but with their last known location that is shown during scan/relinking.This would make quick communication way easier with lots of missing files spread over different paths.Just export a file list (txt or csv) and send it of to the person that gave you the project to search for the missing stuff instead of compile the list yourself manually.

So, I try to work in a non-destructive workflow. That means I duplicate sequences a lot when I have edits to make. It is THE MOST ANNOYING THING that even though I iterate my sequences (The name always ends in _v1 or whatever version I'm on) but when I duplicate it, it renames it _v1 Copy 01. After Effects recognizes I have a number at the end and just adds 1. Perfect! But no, Premiere makes me rename it. Then when I hit enter, it thinks I want to rename the next file in my project. SO DUMB. This really gets my goat if you couldn't tell. If they are going to make a stupid naming convention, at least let me have some input to what it gets renamed, right? AE has it figured out, why can't the Premiere team just copy and paste?  If anyone has a solution I'd love to hear it. Is anyone else bothered by this? Is there anyone on the Dev team that reads these? It seems to me like a rather simple fix, but I'm just a guy that has used this software for 15+ years that finally got fed up

Any time I move my Magic Mouse over the image, if my finger moves even a micron, the image zooms wildly in or out.  It happens all day long, and I know I'm not the only one!  So basically, unless you click on the drop-down menu to adjust the size, please let us turn off the scroll-zoom capability. Lock that size until actual adjustments are made.  And if scroll-zoom is still popular, then have it be an Option- modifier move, that only activates but that means.  Thank you for your attention to this matter!

In a proxy-first or proxy-only ingest workflow, when a 25i high-resolution source is later connected to a pre-existing 50p proxy, Premiere Pro incorrectly inherits the proxy's interpreted frame rate (50fps) and applies it to the 25i source, causing it to play back at double speed.Importantly, this issue does not occur in the reverse workflow: when a 25i source is ingested first and a 50p proxy is generated from it, toggling between proxy and high-res works correctly. The problem is exclusive to the proxy-first path.Context:This is a real and growing workflow challenge for broadcasters and post-production facilities transitioning from interlaced (25i) to progressive (50p) acquisition. Archive footage shot in 25i must regularly be cut alongside new 50p material. Using 50p proxies for archive 25i clips is desirable because: All 50 fields per second are represented as individual frames, enabling frame-accurate editing Progressive proxies play back more efficiently on laptops and office w