Feature Requests

In the new color mode page in Beta currently, the only option is to have the waveform/scopes show when you are working with contrast/exposure (waveform), or Temp/balance/saturation (scopes). I can’t seem to find an option to toggle them on or off so they can “live” on screen like any other NLE offers. As much as I like isolating the graphs, it is also beneficial to see how the adjustment you are making or the style you are auditioning affects the overall waveform/color channels/and your scopes. Maintaining the ability to see your waveform/scopes any time you need to, without manipulating a perameter is still critical to the correction and grading process.

Display audio waveforms for nested audio clips

While it does come off as lazy that a whole bunch of highly needed effects and transitions were bought rather than existing tools upgraded and new ones designed, the Film Impact toolset is still highly welcome.    There is a big problem however which is interopability with After Effects. If we have the desire to finish deliverables in AE rather than Premiere it is currently impossible to transfer this data over.   Please port all effects and transitions to AE. I know AE doesn't have transition functionality in the way it works in Premiere. But the way Red Giant Universe tackles it is by making effects able to select another target layer to blend the transition to and you keyframe the transition % slider. This is a perfectly acceptable solution that can be implemented. It won't copy paste from PR -> AE but you can at least manually recreate the exact same data.At the minimum I hope to at least see the effects being ported over.

Hi there,I think it would be great if there will be also Czech and Slovak language transcription in Adobe Premiere Pro. It would help many editors.Do you see chance to add it?Thanks)

Please, a great feature would be Team Projects actually working, instead of preventing from saving locally and online. It really is the most wanted feature I think: we’ve been provided time-wasting workarounds already, but then why use this feature if we can’t even be sure to be able to even save as a normal offline project. In the last month publishing and\or locally save a team project failed 85% of the time, for me and my team, let alone all the copies of the projects we manually have to save around.Please FIX it, or at least let we know where is the problem: is our network? our workstation? something else? I want to keep using and paying for Premiere Pro (as I did for years), but half of my coworkers push me towards Resolve Studio and its Cloud as is consistently more reliable and cheaper. Let us know what to do.

How about a more robust feature set for captions, like being able to highlight single words or add shapes behind to highlight without having to do it manually? An automated feature tied in with the transcript and captioning features would be really useful.

Вставка ключевых кадров на основе анализа звука, например:1) Диалог (на основе конкретных слов, вставка ключевого кадра анимации при произнесении слова «привет»).Таким образом, мы можем приблизить изображение при произнесении слова «привет».2) Выбрать фрагмент музыки, проанализировать его и указать, что ключевые кадры должны быть размещены на этом бас-барабане или бочке. Анализ основан на выбранном регионе, как в iZotope RX 11.

I’m a bit puzzled… There really is no way to smooth masks created with a pen-tool with the help of bezier handles? How come? 

Currently if you have a Production with 2 projects in it and you bring a sequence from Project A into Project B, it comes in as a copy. If you click into the nested sequence on a timeline in Project B, you are working with a sequence that has no link to Project A. It would potentially be better for collaborative workflows if the nested sequence had a link back to Project A. That way if work is done in Project A it would reflect in Project B and vice versa.This would be similar to how multi-camera sequences currently work in Productions where changes made to a multi-camera sequence are reflected anywhere that sequence is used and double clicking into a multi-camera sequence in a project will open the sequence up in its originating project.My team is trying to use Productions with multiple editors working on sequences in many projects that get collated together into one primary sequence and it is sometimes a bit confusing to track where work on a sequence is happening if an editor clicks

Please add an Auto Color or AI-assisted Quick Balance feature to the new Premiere Pro Color Mode. The previous Lumetri Auto feature was extremely helpful for editors who need a fast starting point for correcting exposure, white balance, contrast, and saturation without needing advanced color grading knowledge.The new Color Mode is powerful, but it currently feels very manual for fast-turnaround workflows like interviews, event videos, social content, church/media production, and weekly edits. An intelligent one-click correction tool would make the new workflow much more accessible and efficient for non-colorists while still allowing advanced users to continue refining manually afterward.

It would be useful to be able to move the captions all the way to the bottom of the screen.

I would need a 48fps (HFR) sequence setting and export possibility.It does not seem possible in Premiere pro 24.2

Hi, please add a one-click "Match Sequence to Clip" option for existing sequences (to automatically match resolution and frame rate to a selected clip).Also, allow custom presets inside Sequence Settings (Editing Mode list) for faster switching between formats.This would greatly improve workflow speed.

We need to be able to go from a transcript clips/paper edit to a finished timeline automatically.

We embed captions on the data track of a MXF file in an AVID interplay environment. We encode the MXF in Premiere for faster and more controlled export but the data track doesn't import natively.. Our work around is to export an SCC file from Avid, import into Premier and realign captions. 

I would like to be able to “replace footage” with anything from within premiere thus having ‘footage be more abstract’.  Current Limitations: Replace footage only applies to footage on disk.  Improvements: Replace footage with anything already imported. It should just become a reference and behave similar to ‘replace with Clip from Bin’ but on a project level. I would like to be able to swap anything with anything within the project window: ie. Source footage with a sequence, subclip, AE project, imported image etc. and vice versa. A piece of ‘footage’ should become more abstract. Maybe all footage should get an additional ‘container’ with a basic timeline where you can manually drag in a new source and handle the duration etc. ‘Footage’ then can never be used in timelines directly only through the ‘containers’. Your edit is then totally independent from your source footage and you can swap the actual footage in the container and modify it if needed. This allows you to macro manage you

Often a feature in DAWs, it would be nice to be able to hold a modifer key (control, shift, alt/option, command/windows key etc), and left mouse click on a solo, mute, visibility or track target on timeline, and have just the one button be exclusively selected. So if 4 tracks are already soloed or muted, modify key+left click to solo just that specific track. This allows you to quickly switch soloing and track targeting to one track with one click rather than having to shift click, deselct all, and then click agin to select just the track you need.This is useful if you have multiple audio or video track layers and just want to solo a specific track quickly with one click. Of course all of the above can be applied to track targetting, muting and the visibility button (for video). This would save a lot of time and clicking when comparing tracks for take selection or to check a specific track in isolation.

I often find myself needing to sync multiple (20+) shorter clips to a longer clip, and currently I have to manually put the video clips onto separate channels, as well as the audio onto individual channels, then the sync is possible. This takes a very long time, and is very frustrating having to resize the timeline window to accommodate it all.

*feature request*Blackmagic announced support for drag and drop .af files into DaVinci Resolve, including access to individual layers via “Split Layers into Place” in Fusion. Much like the way Resolves supports .psd files. I’m receiving more and more affinity files. Would be good if Ae and Pr supported .af natively too. Now I need to open the .af in Affinity and use the save as psd option.

We use Premiere as part of a newsroom workflow with Mimir.The two function very well together except in one area, rendered effects and HEVC/HEIC/HEIF formats.When directly uploading to Mimir from a Premiere sequence, any video or pictures in high efficiency formats will display an error message when being broadcast.The same is true for effects like warp stabilizer and other effects needing rendering.My idea is to allow a user to select “render in place and create new video clip” or something to that effect.It would allow a user to render the effect or high-efficiency clip and replace it with a user-selected video format and replace it on the timeline.The only way we can guarantee a rendered effect or high-efficiency clip will play correctly is to export the sequence to a local drive and then upload to Mimir.I think many users will find this feature beneficial.Feel free to ask any questions about workflow or any other needed information.

Description: As a professional editor in television production, I often work on projects involving footage shot in varying frame rates (e.g., 24p, 30p, and 60p....ect). While I appreciate Premiere Pro's existing tools like Frame Rate Interpretation and Optical Flow, managing mixed frame rates within a single timeline can be time-consuming and requires extensive manual adjustments, particularly with high-motion footage such as drone or action camera clips. --- Problem: When footage with mismatched frame rates is added to a timeline, the current workflow requires manual interpretation, time interpolation settings, and trial-and-error testing to ensure smooth playback and motion consistency. This process can result in judder or artifacts, especially with motion-heavy clips, and takes time to resolve. --- Proposed Solution: Introduce a Smart Frame Rate Handling Tool that automates and streamlines this process. Key features could include:   1. Automatic Detection and Prompt: When impor

Can we have the ability of pining the text layer to a tracked mask (Unassigned Masks) so the text can move along with the tracked mask.Or you give us the ability to track features on the screen and review them at [Tracking Panel] so you can link them to any layers (transform) text or clip.Linking any transform (text or clip) to any tracked feature on the timeline. 

Hi There, can you please put back the Essential Graphics panel in Adobe Premiere Pro 2026 Thanks Kevin

Integrate a real useful AI-tool to Premiere Pro (and other softwares like After Effects) - Add an AI-prompt tool that responds to all functions and commands in Premiere Pro. For example you can type “Add a Gaussian Blur to all the clips in the timeline with the blur level of 50”. Think of all the possibilities and effective workflow this could contribute to!(And while we’re at it - integrate an AI-optical flow that competes with DaVinci Resolves optical flow)

The enhancement from (formerly Project Shasta) Adobe Podcast is AMAZING.  It transforms (most) bad audio into professional sounding audio and professional audio into beautifully-curated EQ'd and Compressed, pristine audio.  If you haven't tried it first-hand, you MUST give it a shot.  It could make you a believer. The good: For single-channel, vocal driven audio, there is literally nothing that sounds better to me.  The bad: 1. I have to export a Raw Waveform and submit it to the website. 2. I have to wait for the file to process. 3. If there are any anomalies that created unwanted compression/limiting/EQ, I have to keyframe the audio's gain in those parts and rinse and repeat until I get the result I want.  4. There are NO parameters to fiddle with, but the end result is usually 99% perfection, I kind of don't care: it is quickly becoming part of my editing workflow on every project.The hope: Whether the process could live locally on Premiere or