Feature Requests

Little tools / options that help to speed up the editing and make it easiler! Adjustement layer (add more option) : Super tools, but sometime you have to move some footage, create nest to apply like you want! Sometime a little bit tricky! Add option (check box) on “effect controls” to be able to bypass or ignore adjustement layer for a items. When checked bypass every adjustement layer above this elementBonus : when selected on “effect controls” see a list of Adjustement layer available above to choose if we ignore one or both   Create a new tab for adjustement layer application. Create a Adjustement layer with all his effects on, then withou drop it on the timeline simply assign witch video #track (or label Color to apply on?)  will be affected by this adjustement. To save space on the timeline (or multiple uncessary video layer) Lock Element in Timeline : We can lock a entire video track but be able to lock a specific items, element, video on a timeline could be helpful on some case.

PROBLEM: How often do I loose keyframes at start/end of clips when trimming a clip and the keyframe is then out of visible range.SOLUTION:I want the ability to make certain keyframes sticking relative to clip start and end. It would be great for presets and editing in my case!Imagine the endless possibilties of selfmade transitions.IMPLEMENTATION:It could be simple an user friendly: Let me select keyframes to stick it to: start/end/stretch with length of clip.Or there could be a second option for ‘cliplength-relative keyframing’.I name it: RESPONSIVE KEYFRAMING 😉

If I have an image sequenceand right click and replace footage to a different Image Sequence,The “image sequence” checkbox should automatically be checked.That way it doesn’t replace an entire sequence as a still.If you have used the sequence multiple times, it will wreck a timeline.When replacing a still, it should default to replacing it as a still.Not as an image sequence, even if named as such.We are very CG heavy, relying on image sequences and stills in every single project. With our daily updates, this would be a huge help.

My captions are almost always burned in. I need the ability to fade out captions. Right now, I can't do that with a video transition effect or opacity keyframes. This oversight is a huge step backwards for creating attractive burned-in captions. AND, I have no way to revert to the previous captioning where I can create those effects in a number of ways.

Create a section in the Labels settings for Markers. This section would be identical to the Labels options, so users can modify Marker Colors and Defaults in the same manner that Labels can be modified.

Please add a feature to letterbox or pillar box odd sequence sizes such as 1:1, 9x16, 2:1, etc…This way we can have a live edit session, without pre-comping into a 16:9 sequence, just to playback onto our broadcast monitors.In Autodesk Flame you can edit in any format. Your broadcast monitor format will automatically pillar-box or letter-box the video.This would make for a smoother client session.

How will the idea help your workflow? Adding keyboard shortcuts for "Extending Previous Edit to Playhead" & "Extending Next Edit to Playhead" have changed my edit game in terms of speed. Would love to see this capability extended to Captions in the Caption Track. Currently, they don't work even though the Caption Track is Targeted. Maybe a bug, but gonna request as a Feature I'd like to see implemented. I do a lot of captioning so not having to toggle tools saves me a lot of time spent elsewhere.

I am writing to propose a breakthrough AI feature for Premiere Pro’s Multi-Camera workflow.Currently, auto-syncing relies heavily on Audio. However, in many professional scenarios—like weddings or live events—we have a 'Live Mix' (Reference Track) recorded by the vision mixer.I propose an AI-powered 'Visual Eye' feature that analyzes the frames of the Live Mix and matches them in real-time with the corresponding raw camera angles on the timeline. Instead of manual switching, the AI should 'see' which camera is currently active in the mix and apply the cuts automatically based on visual recognition, regardless of the audio state.This would be a game-changer for editors handling multi-cam projects with pre-existing reference cuts.Best regards,Ashur

Hello Adobe TeaM! It will be great to add a ability to create and save timeline presets. For example, For movies I have couple video tracks with own names and couple audio tracks with own names, but for TV or trailers I’ve got different timeline names and settings. Yes, we have project templates, but I wanna switching between timeline presets just like workslace presets

Can't translate native speakers in Vietnamese without this.

When using the Join All Through Edits shortcut different text graphics next to each other join together. I just had to redo the text on about 30 lower thirds because of not noticing this had happened. Update: I just found out it happens with shape layers as well. So it seems to happen with all graphic layer types. I’m on Version 26.2.0 (Build 65)

Long time Media Composer editor here. I've edited tons of TV series. Recently swtiched to Premiere Pro and cannot believe the software won't allow me to see the clip durations on the timeline. It's very important for quickly gauging pace and assessing an edit. This software seems to have so many optinons and bells and whistles, but his BASIC editorial control of seeing the clip duration of each clip on the timeline is essential. Until they have this, it's kind of hard to take this software seriously as an editor. At its core, editorial is about pacing, and this software does not give me the very very very basic tool of seeing my clip durations. 

Licensing stock music in Premiere is a huge pain. You have to do it track by track, and it takes 15 or 20 seconds and clicking through 2 dialog boxes. Not to mention, you can only license it in the project that originally downloaded it. In a shared editing environment like in Productions that’s a nightmare because by the time you lock the cut, 3 editors might have touched the project and now your music cues are spread out across projects and you have to go in to each one piecemeal to license the cues, individually again. It feels like it should take one click, instead it becomes a task that can take half an hour or more.

You have added the color mode, but it has removed the ability to make an adjustment layer.  Why can’t we make an adjustment layer and use the color tools?  Now, the only way I can find to do it is to go deep into the effects panel and use the old rude and clunky color adjustment effects that are missing many of the things that were in the Lumetri panels.  Why take away a tool like adjustment layers when you still allow adjustment layers to be made, but just don’t let them do what they used to be able to do.  The color panel only lets me work on a clip by clip basis.  The adjustment layers allowed me to work on many clips at the same time.  AND I could see the timeline still.  

Hi, I wish to make suggestion in regard to Film Impact effects in adobe premiere.First I want to say that I love Film Impact as new addition and I think that is very useful artistically and in the term of productivity.My suggestion is to add Chaos, Earthquake, Glitch, Grunge and VHS damage as effects, which is already case with light leaks. It exists in both categories.Now these are only available as transitions. While there’s workarounds to use them as effects on clip, it would be nice to have them as effects as well. It would be easier and quicker to use them. Thanks in advancebest regard

selecting the right track in the Source Monitor can be very difficult in Adobe Premiere.If I now open a multi-track clip, I  see all the audio tracks labeled with the number one. or L and R. I would like to see it labeled as 1 through 10 or 1 through 16, depending on how many tracks the clip has. I also would like to be able to mute or solo these tracks so I can pick the right track in my edit.  Even more powerful would be when I can do the source patching in the Source Monitor so I wouldn't have to do this in the timeline 

Many editors would like to see a function that allows you to do this one thing avid does which is only open one timeline at a time and toggle it between *whatever* is in the source monitor and the record monitor with a single command like avid.  Davinci resolve recently added this feature. 

The scroll bar in the Program monitor keeps zooming in all the way, to the frame by frame level, so when I hit play, the playhead flies around in a distracting way. Multiple times while I’m working, I have to manually drag the zoom bar out so the playhead doesn’t fly around. 

My go to for audio tracks, and I think most editors would agree, is to put a 2 frame crossfade between cuts to smooth out any potential blips in the cut. As such, when Snapping is enabled it wants to snap to either end of the crossfade, and not always the cut point itself. It would be great if there options for what Snapping behaved like. Like a preferences menu just for snapping. You can enable video snapping, audio snapping, transition end point snapping, keyframe snapping, etc. This is something you can really dial in in Avid and I'd love to see it in Premiere.

There is the option to use the very annoying little bar at the bottom of the Effects Control Panel to zoom in and out and to also scrub and move left and right. You can use the +\- to zoom in and out, and the left and right arrow to move frame by frame, however there is no option to scroll/scrub left and right with your mouse.With the amount of time using a mouse in the timeline to scrub and zoom, could this not be applied to the Effect Controls Panel? My suggestion would be to have the same mouse and keyboard combinations to move, zoom, scrub etc. thats available in the timeline, to also transfer and be usable in the panels.(e.g. alt+scroll wheel to zoom, scroll wheel to scrub etc.)  If this already is an option and my settings are not optimised please let me know, however, if it's not available, this would be a much appreciated change.

I have .mts files from a camera that have no color range flag, but in fact have a range of 16-255. Premiere recognizes them as "limited range", which is mostly correct. But how do I change the range to 0-255 (full range)? So far I have blown out bright colors in Premiere.I've cursed the program -- I can probably change the values, but I can't find the option to change the color range. Where is it hidden? I think this should be in the basic properties of the file.

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.

HAVE THE SPELL CHECKER WORK WITH ALL CAPS WORDS, right now if an all caps word is pasted into a text will not see if it is spelled wrong. I would have to type it all out in lower case to see if there are any spelling mistakes. Also the red line has to pop out more, maybe a red box because it can barely be seen.

Alongside Premiere Pro there should be a similar app which is simpler to use for like younger people who are just getting into editing before they move onto the main application.  This app should have all the same tools Premiere Pro has so it has the same power in potential but just an easier interface. Thanks.

I use Project Manager to consolidate/copy all the project files to a new folder in preparation for offline archiving/storage.For this use, I want a complete duplicate of the entire project. In the project manager dialog box, it presents a list of every sequence in the project with a checkbox.  I can't use "Cmd + A" to select all the sequences and have to enable the check one-by-one.  With a project that has a lot of sequences, that takes time and can be error-prone if I don't double-check to make sure I haven't missed any of the sequences.A "copy all" option or the ability the use select all (CMD + A on a Mac) to toggle all the checkboxes on would be very helpful.Is there a way to do this now that I am overlooking or unaware of?