Feature Requests

Feature Request: "Toggle track output" shortcut. As an editor, I would like a keyboard shortcut for Toggle Track Output (the eyeballs) for each track.    Edit: User Voice links are removed from this post. Please upvote!Use CaseI was running into the need to toggle track output today, where I'm nudging an edit point as I'm looping. One problem: I want to turn off the "camera clutter" clip on V2 momentarily as I adjust the edit point, then turn it back on (as I'm still looping).   It works great with the mouse, and I'd much rather toggle it back on with a shortcut similar to my other timeline toggles. I find it a little odd that it is missing from Timeline shortcuts. Shortcuts exist for all the other timeline toggles.   What do you think, community?Thanks,Kevin

Video Transition Handles is a new feature in Premiere 26. Great if that’s your style but I’m doing hard cuts 99% of the time. If I need a transition, I’ll get select one. The icons keep getting in the way of dragging the clip as well as extending or trimming the clip. Looking for a way to turn it off. 

Please Add the following functionality to Premiere Pro - Middle Mouse Button shortcut to drag and through your timeline This will speed up the navigation of the timeline while editing. Other programs like Davinci Resolve offer this as a standard feature. Currently, the workaround people have used is the HAND tool or "H" shortcut.  The problem is pressing and switching tools is incredibly time consuming. Please add a feature for the middle mouse button that lets a user drag and navigate their timeline.

I've been a Senior Editor for 24 years now. My specialty is editing multicam footage. When I've only got 10 cameras, it's okay. But more often than not, I get between 20 and 40 different sources, because most of the time, I'm called in to edit major shows. I come from the AVID world (where we see labels in multicam, as shown in the image below).I'm more often asked to do my projects in Premiere these days. Not being able to see the labels on my timeline is really annoying. I need to find my bearings quickly. For a number of reasons, such as observing whether I'm using a source too often or fixing the same problem on a source every time I edit, it's crucial that I can see the labels directly on the timeline. It's a no brainer!Thank you for considering my request and to the other editors, share, vote, make this request a reality!!!! Martin Julien 

Hi,It would be handy to be able to copy and paste attributes to specific colour labels.I create interviews with B roll, from static to on road. I colour label the various segments as it helps me to negotiate around the project.If I could copy the attibutes from one colour labeled clip and assign that attribute to all others of that same colour, that would be handy.Cheers.

In Premiere Pro 26.0, the “Gaussian Blur” Effect has changed the name of its main blur amount property from “Blurriness” (PP 25) to “Amount” (PP 26).While I understand this Effect seems to have received an overall improvement with other properties also added, breaking changes like this put extension developers in a whack-a-mole scenario trying to catch things that might inexplicably break without warning.So the request is just: please avoid changes like these that create these breaking changes for extension developers, or offer backwards compatibility where possible.Thank you 🙏

CURRENT WORKFLOW:I add extended markers on my clips while logging footage to mark sound bites, good sections of a long broll clip, etc... To do this I play the clip and add an In point at the start of a soundbite/broll section, play until the end of the bite or broll. My range is marked. I look at the duration of the In/Out and make a note of it. Then I hit the keyboard shortcuts to Go to In, Add Marker (twice, to open the marker box), Alt+Tab to go to the Duration box in the marker window, type the duration I noted from my In/Out points, then Tab again to add notes in the Name box of the marker window. Finally, I hit Return to close the marker box and go back to logging my clip. THE PROBLEM:This is a very convoluted workflow with a lot of keypresses (about 8-10 keypresses). It is workable, but it would be ideal if the process were streamlined. See feature request below. FEATURE REQUEST:Add a keyboard shortcut option to Add Extended Marker Based on Marked Range, or something

When i do auto-reframe it puts smaller and diffirent size. i suggest adobe they can put another setting button when auto-reframe we need to change  the size of settings not just put 16*9 to 9*16 also i am looking for  put sizes like 1080*1920 or 1080*1080. even my sequence settings are 1920*1080 and when i do auto reframe it doesnt change excat like 1080*1920. Adobe needs to solve this issue.

Currently, the 'Creation Date' field under 'Metadata Display' does not show when sequences is created.
I suggest that Premiere Pro adds support for displaying the creation date for sequences, allowing users to quickly see when a sequence was created directly within the metadata view.
This would make it much easier to organize and locate older sequences, especially in larger productions with many sequences.
Ideally, the creation date could be shown in the bin view along with other metadata fields. BenefitsBetter project and sequence managementFaster workflows in larger projectsMore consistent metadata handling between media and sequences

Issue:The timecode panel doesn't update the V1/V2/... SRC timecode in a source sequence.Duration, In/Out Duration and current time are not affected. Steps to reproduce:I open a sequncei in source monitor and open it from there as a timeline (where I get a source sequence with a red playhead).I scrub through the timeline. Expected result:The V1 SRC TC in the Timcode panel shows the source timecode of the clips on V1. Actual result:The SCR timecode is either empty or stuck on the timcode of another open (not source) sequence Adobe Premiere Pro version: 25.1.0 (Build 73)Operating System: Win 10 I'm not sure if this is a missing feature or a bug. A source sequence should have the normal functionality of a normal sequence. I'm often surprised that I can edit a source sequence (move clips, cut clips,...) - would make more sense to me if it was read only in that moment - but I'm not able to solo or mute audio tracks or see TC. It's like the actual useful stuff of a se

Would be great to be able to use a sequence with multicam clips in the source monitor. Meaning, if I have multicam clips in a sequence I could then load that sequence into the source monitor and see the different camera angles just like a multicam clip. This would allow me to build stringouts of takes using multiple camera angles and edit from the source monitor selecting desired camera angle to edit into another sequence. Thank you. 

By default, Premiere creates a nest with the same resolution as the sequence it was created in. The problem with this is that if you are working with video/images that are higher resolution than the source sequence, and you nest them in the sequence, scaling the nest does not preserve the source media's resolution. For example, nesting a 4k clip in a 1080p timeline effectively converts it to 1080p, resulting in a drop in video quality when you increase the nest's scale.The typical workaround is to scale/reposition the clips within the nest (instead of the nest itself), change the nest sequence settings after you create it, or skip the nest feature and create a new sequence with your desired resolution, adding what you want nested to it, and then bringing that sequence into your main sequence. These workarounds involve way too many steps for something that should be simple. After all, a nest is just a regular sequence and has all the same settings as any other sequence.I propose adding

Please make the "interpret footage" feature pass down from hi-res native footage to attached proxies. For example, if native camera footage is interpreted from 60fps down to 23.976fps, then the 60fps Premiere-generated proxies should be interpreted that way as well.

I'm starting to use the improved color management tools, but I've found that making the color setup a sequence based rather than a project (or production based) option is frustrating. First of all, who (or why) would anyone want to have a project where they mix color setup workflows? I can't think of a reason why this would be needed. Perhaps there might be a small number of situations where mixing color setups in the same project is appropriate, overall, I think most people only need to work in one color setup workflow (the various rec 709 options or the various wide gamut options). As I'm editing a project and I've changed my color management workflow midway through editing, I'm having to reset the color setup of about 80'ish story sequences (all of my multicam clips, then all of my edited story sequences, and then my compiles of edited sequences…🙄) and convert them all from standard rec 709 to Wide Gamut (Tone Mapped); to get them all into the same wide gamut tone

Hi,In Premiere Pro, there is currently no native way to automatically select all vertically time-aligned clips in the timeline (audio and video) when they are not linked, which is a very common case when working with external audio recordings (wireless mics, boom, etc.).Typical scenario: A video clip linked to its camera audio Multiple external audio tracks perfectly synchronized but not linked Selecting the video clip does not select the aligned external audio clips Linking globally is not usable, as it results in selecting large portions of the timeline What is missing is a vertical selection tool or option, based on: time alignment the duration of the selected clip with optional track filtering or local linking after selection This feature would be extremely helpful for documentary workflows, multi-track interviews, and intuitive rough-cut editing. Thank you for your consideration.

I would like to see a native AI-powered multicam editing feature in Premiere Pro that automatically switches between camera angles based on who is speaking. Currently, I rely on third-party plugins such as AutoPod to achieve this, but having this functionality built directly into Premiere Pro would create a more efficient, stable, and integrated workflow — similar to how the Stabilize effect works today.With video podcasts becoming a rapidly growing and mainstream content format, this type of automated multicam editing is increasingly relevant. A built-in solution would significantly improve editing speed and accessibility for creators and professional editors working with multi-camera interview and podcast formats.

Adobe Premiere 2026.0.0 is cool! The mask tracking is amazing. But…we can’t apply that tracking data to Transform / Motion properties like Position, Scale, or Rotation.Since the tracking data already exists and is reusable for masks, it feels limiting that it’s locked only to masks. Being able to drive Transform properties with the same tracking data would allow true object-following.The tracking system is clearly powerful. Exposing it to Transform/Motion would be a huge workflow win.Hope this gets considered 🙏

it makes my very tempted to move over to da vinci

The Paste Attributes window should have a checkbox of "Label color", so that you can choose also pasting the clip's label colour above all other attributes or effects you'd like. I know I would use it all the time.

There already is an option to copy & paste sequence markers but what's missing for me is the possibility to insert sequence markers when opening a sequence as a source. When I open a squence as source that has sequence markers, those will be ignored when inserting or overwriting.The only way is to select all the clips in the in to out area and copy them, then paste them in the desired sequence but that adds an extra step and I need to open the source sequence as timeline (in that case opening the sequence as source is useless in the first place as the only option is copy & paste). This feature would make working with source sequences more painless and more logical (compared to normal sources that will include their markers on insert).

Dear Adobe, I would love you to have Speech-to-text Support for the Romanian Language.Should be something easy for you to impliment and I am sure that all romanians using Premiere Pro or no more Pro would appreciate the attention. Good luck,Alexandru

Adobe Premiere Pro 26 has just been released, and overall it’s an impressive update.However, it’s also deeply disappointing that Speech-to-Text still does not support Arabic. This has unfortunately become a recurring issue.Arabic is one of the most widely spoken languages in the world, yet it continues to be excluded while many other languages are supported. In 2026, this is difficult to justify—especially when multiple competing platforms already provide accurate Arabic speech recognition.For creators who produce Arabic content, this limitation is not a minor inconvenience; it directly affects workflow efficiency and accessibility. It’s frustrating to see such a powerful tool fall short in an area that the industry has already moved past.

Dear Premiere Pro Development Team,I am a video editor specializing in commercials and music videos, and I use Premiere Pro daily. I am writing to propose a new feature: "Absolute Clip Lock" (the ability to lock selected clips to a specific point on the timeline).The Problem: Currently, when editing commercials (e.g., a 30-second spot), specific elements like the Brand Visual Identity (VI) at the final 2 seconds must remain fixed. Similarly, in music videos, certain shots must align perfectly with specific beats. However, when trimming or ripple-editing adjacent clips, these "fixed" shots often shift. Constantly double-checking their alignment is a significant source of stress and slows down the creative process.The Solution: I request a feature that allows users to lock an individual clip (or multiple selected clips) to its absolute position on the timeline. •Unlike the current Track Lock, this would only affect the specific clip, allowing other clips on the same track to be edit

Hi! There should be an option to adjust the volume of selected clips. It's strange that when you select multiple clips, the volume only changes for one.

Now that version 26.0 of Premiere Pro has been released I'd like to draw everyone's attention to the main problem of this update - projects created in Pr 26 cannot be opened in its earlier versions. Trying to do so leads to a project error. Project downgrader sites you can find in the Internet are useless, they don't work with this release. So what should do those Premiere Pro users that cannot update? I work in a big company with not-so-modern hardware which has Pr 25 and 25 installed and the company isn't gonna update because the newer Pr version the better hardware you need.Since Adobe does not recommend to use third-party project downgraders because:and they haven't come up with a credible solution of their own, I'd like to request an Adobe tool or a Premiere Pro feature (like in After Effects where you can save a project as 24.x or 23.x versions) to be able to downgrade a project or save it downgraded. I understand that the new Object mask needed to rework the save structure, but