Feature Requests

One thing that is really missing in Premiere is a way to disable multiple audio effects at the same time.There is an FX button for visual effects but not for audio.There are some reasons why this would be helpful: A/B comparison, performance (some audio effects have a huge performance hit), quick disable during punch in.At the moment, the only way is to click on every effect and bypass it one by one. A better way could be an additional bypass button per track and/or a global bypass button (either for only one sequence or all sequences as with the global FX button for visual effects).

Hello there,I was having trouble with saving my color presets so that I don’t have to start from scratch grading my talking head clips? Is this feature available or coming in the future?

In old versions of Premiere, when importing a logo, you could add a shadow and a stroke with the same characteristics as the fonts. In the new versions, this is not possible. To add a shadow or a stroke, you need to add a drop shadow effect.

So I have switched over to the Sony Burano to shoot raw, and to my surprise, there is no raw pannel like ARRIRAW or R3D. Resolve has the functionality, but I am Premiere through and through. Can you all please please please add that functionality. This will be a popular camera with the sony Venice so Access to those tools are paramount. 

Premiere Pro should add a playback mode that skips the marked In/Out range during playback, allowing editors to audition a removal without modifying the timeline.This is not the same as Lift, Extract, Ripple Delete, Play Around, or Loop Playback. The goal is to temporarily hear and see the edit as if the marked section had been removed, while leaving the actual sequence untouched.Proposed behaviorWhen this mode is enabled:The editor marks an In and Out point around a section of the timeline. Playback starts before the In point. When playback reaches the In point, Premiere seamlessly continues from the Out point. Audio and video remain frame-accurate and sample-accurate. The timeline is not modified. The mode can be toggled on/off with a keyboard shortcut.Why this mattersEditors often need to test whether a section (ranging from seconds to whole story-arcs) can be removed before committing to a cut. This happens constantly when tightening dialogue, reducing pauses, adjusting music rhyth

I really hate using the button “from file” while using the properties panel, it just takes lots of time to look for it in the external finder window. Especially i already have it open in my existing finder tab. So would it be possible that we could do drag and drops in the properties panel? 

In After Effects when you choose frames or timecode as the time display format in the timeline it displays the playhead position in your primary units (e.g. frames), and shows the alternative measurement (e.g. timecode) beneath in smaller type. I'd like to suggest that a similar thing could be implemented in Premiere. The use case is that it's useful to see at a glance where you are in a timeline in both units, for example client notes tend to use timecode, whereas for animation I'm often working in frames. I'd suggest that the alternative display was shown to the right of the primary playhead position. I'm aware that AE only has 2 time unit display types, whereas there are 4 I think in Premiere. Perhaps for frames and feet and frames the alt display would be timecode, and for timecode the alt would be frames. Or maybe the user could just alt-click through both to select which is show for either. This is a QoL suggestion, but would make a fair difference to my working da

When you replace a clip in the timeline now doing this, it doesn’t respect the original timecode, all the clips start from 00:00:00. It would be great if it respected the original timecode!

Please make it possible to batch-apply subtitles with tracking icon images to the entire timeline at once! Isn't there any quicker workaround?

This is a rant post. The new Masking Features in Premiere Pro are painful. If I want elaborate masking, I’ll go to Photoshop or After Effects. Adding 5 clicks to every time I wanna mask seriously slows my workflow down. I am considering staying on a 2025 patch because this is so frustrating. I dont wanna mask with AI, I dont wanna have to click 25 different things, it was marvelous as it was. Simple. For a simple sequencer like premiere. This is not After Effects. Would be a fever dream if you revert but I know theres no way. AI takin over

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

Building a Plugin and I think there is no function to check if a clip has a transition…So something like getVideoTransition / getInTransition / getOutTransitionwould be super nice so i can apply existing transitions to new clips :D

I use Adobe premiere pro 23. It was stuck in software only. And gpu sniffer error massage. Tried everything from youtube tuts, turning on simulatehw, etc nothing helped.  Even you simulate it actually it doesn’t use any gpu. I just downgraded my gpu driver to this.AMD Software: Adrenalin EditionRevision NumberAdrenalin 26.3.1 (WHQL Recommended)File Size908 MBRelease Date2026-03-19 

Loving the new colour page but currently, masks seem to be owned by the adjustment. This is the wrong approach sorry. Masks should be independent of adjustments, added to any grade/adjustment with the ability to...Combine with any number of other masks (AI or shape masks) on the adjustment Full options to unite, minus, intersect and exclude masks when combing Independent invert switches on every mask to isolate area/object as needed Unlink a mask from the original track, to independently tweak it per adjustment Once you have a good track/mask, it should be totally reusable and combinable, with full flexibility to unlink and customise it on a per adjustment basis. Keep up the good work but as I’m sure you can see, masking is the game-changer that stops the colour page from playing catchup, to overtaking the competition. Don’t skimp here! Also, what’s up with the horrible, pixellated HUDs on retina Macs? Haven’t found a fix for this yet. Cheers, Ben

Let me press enter/carriage return to activate the blue transcribe and save button when creating a source/static transcript and changing speaker names. I don’t want to mouse around to click the buttons or reposition the windows which tend to open off screen...

It's quite frankly ridiculous that this is not allowed. I work a lot for social media and it would be quite useful to simply upload files to the cloud storage and download them to my phone to share them

For every new project in 360 video, I have to right click the preview window, the VR Video, Settings, then enter 160 by 90. The default is a square window that NO ONE needs or uses. It needs to be a video format of 16 x 9, or some other std format.Anyway the point is why can’t the settings be sticky? I would like to set the default VR Video Settings, and then that’s what you get viewed on the preview window when starting a sequence. Having to do this on each project is a waste of time.  Thanks for listening.

In the caption section of the text tab, it seems that the auto generated text has widows and poor spacing. It would be a great time saver if there could be more text options like, no widows, alignment and spacing, etc. when creating the captions instead of fixing it after.

You have given us a bunch of simple tools.  And while you have used the math of a curve in the tools, you have also required me to use five tools to get the effect I could get in seconds with a curve.  Why not just let us have a curve tool in the color panel?  Simple and fast.  Most of the time, that is all I need for an adjustment.

In the export tab: codec H264 ---> Audio----> PCM not only stereo but also 6 or 5.1 channel export.

I’m working on a split screen project right now and it is unreasonably difficult. I’m dealing with a lot of clips, so it’s very time consuming to apply a crop and reposition each one. I can’t nest my footage because each screen is interacting with the others, so I need all my clips on one timeline. No time to switch back and forth between 4 nested sequences. An adjustment layer with a crop effect doesn’t work because it crops everything below it, and I need 4 independent visible screens. Track mattes don’t work because they move when I reposition my footage. (By the way, this is ridiculous. Why don’t track mattes in premiere behave the way they would in after effects?) It occurred to me that if I could just apply a crop effect to each track, it would save me tons of time and headache. I could then just reposition my footage within the “frame” the track is cropped to. It would also significantly streamline my timeline cutting down the number of video tracks I need. This feature would al

Greetings. Let's stipulate that PP supports ProRes Raw (PRR). It can be played back and edited, and strangely, over in properties on the master clip, exposure/ISO can be manipulated. That's great. But here's my question: is there any thought of rolling out a more comprehensive package of Raw support to allow for the complete exploitation of raw sensor capture? Here in almost 2025 with lots of cameras rolling out ProRes raw internal (including my new axe), I'm very interested in being able to take full advantage of PRR capture within the PP ecosystem - which I love so much. Thanks! TL

Hi, I've had Atomos Ninja V for my Sony FX3 for almost two years now, but haven't shot but 2 sequences in ProRes RAW regardless of the incredible image quality. The reason for this is that it's extremely impractical to edit with proxies from this footage, as the proxies are automatically encoded in rec.709 instead of slog3, or another color space, which you can choose for the raw files. Could Premiere/Media Encoder be set to pick up the color space you've selected for each clip and encode proxies with that color space? Thank you.Tero

Give ProRes Raw control over White-Balance, ISO and tint in raw controls as well as log conversion. Then it will be useable.

I saw a PP MOGRT in the Graphics Templates called “Loading Screen Overlay” and put it on the timeline out of curiosity, and saw something interesting.In the Effects panel, even though it has keyframes at the start and end of the clip to animate the loading bar, if you stretch or trim the clip’s length in the Timeline, the keyframes follow to make sure they stay at the start/end. It even shows a unique gray overlay at the ends of the clip on both the Timeline and the Effects windows. I’d want to be able do this with my own effects/custom presets. This is really useful so I don’t have to manually realign my keyframes every time I need to change the length of a clip. But I couldn’t find anything online on how to do this. Please add this as a feature Adobe.