Feature Requests

I am surprised that Adobe has some languages included in Speech to Text (Transcribe) feature but not a major language which is used and spoken by over 350 million people which is Arabic? With so many Arabic production features now that are aired and uploaded to many online streaming services, it is CRITICAL that Adobe pays respect to it's users who work in Arabic content/film/TV series.  Now that this request is as important as any new update, it is getting huge attention in the media and NLE users everywhere. So I hope that in the next update 23.1 Premiere Pro will have Arabic included in Speech to Text.   Mod note: Edited for content

Dear Adobe Premiere Pro Team,First of all, thank you for continuously improving Premiere Pro. I have been exploring Premiere Pro 2026 after many years of editing in Final Cut Pro, and I truly appreciate the powerful ecosystem, especially the integration with After Effects and Adobe applications.However, as a long-time Final Cut Pro editor, I have encountered a few workflow differences that significantly slow down the editing process. I would like to respectfully suggest a few optional features that could make Premiere Pro even more accessible for editors transitioning from Final Cut Pro. 1. Browser Skimmer (Highest Priority)This is the feature I miss the most.Although Hover Scrub is useful, it is fundamentally different from Final Cut Pro's Browser Skimmer.With Browser Skimmer, simply moving the mouse over a clip immediately previews the video frame-by-frame without clicking or dragging. This allows editors to review hundreds of clips extremely quickly before opening anything in the So

I would like to batch export multiple AAFs from multiple sequences. Can't find a way to make this happen. Need to export from every sequence individually and wait for the export to be done. Then the next one... When exporting 20+ AAFs for soundpost this takes me (or the intern) like half a day. @ADOBE Please make batch export AAF directly fom the Project Panel available: Select the sequences>Export AAF>global settings for all>export through the night Shouldn't be too big of a thing...

Allow users to copy and paste edit points (cuts) from one track to another, such as an adjustment layer or any clip on a different track.This would make it much faster to synchronize cuts across multiple layers without manually recreating them.

DJI Osmo 4 produces a .LRF file along with the main video. This is a low resource file, lower quality and resolution, ideal for use as a proxy. The only change is the extension. To use as a proxy, currently I have to rename to *.LRF.mp4 a silly step plus a possible chance of overwriting the fullres footage. If the LRF file was recognised then using proxy footage would be so much easier. They are effectively mp4 containers with just a different extension.

Im unsure if this is more of a bug report or feature request.For years I have been using in and out points within my audio files to drag specific clips onto the timeline. This workflow is no longer a viable option as it seems that I can only manipulate the in and out point for 1 instance of an audio clip on my timeline?  I apologize if that doesn’t make much sense - let me try to explain:Typically I will shorten or lengthen my audio track/song manually by first marking an in and out point for the “intro” section of the audio track/song then using the audio “drag audio only” tool to put that specific section on my timeline. Then I’ll go back to my audio clip in the source monitor (while not having the clip I just put on the timeline actively selected) and mark another in and out for the next section of the audio track/song. Then once again I will use the “drag audio only” tool to place that next section on the timeline. And then repeat until done. I’ve not been able to mark multiple in

When using Sequence > Close Gap, Premiere correctly ripples all clips to remove the gap, but the Current Time Indicator (playhead) remains at its previous timeline position.In many editing workflows, especially when assembling sequences by repeatedly pasting blocks of clips, the next action is to continue editing immediately after the newly positioned last clip.It would significantly improve workflow if, after executing Close Gap, Premiere automatically moved the playhead to the Out point of the last affected clip.

Feature Request: Batch Merge Clips by Matching TimecodeHello Adobe Premiere Pro Team,I would like to request a feature that would greatly improve workflows for productions that use dual-system sound.Currently, Merge Clips requires users to manually select each video clip and its corresponding audio clip one pair at a time. This becomes extremely time-consuming when working with hundreds of video and WAV files.Requested feature:- Automatically match video and audio clips by identical timecode.- Batch create Merge Clips (or synchronized clips) for all matching pairs in a project with a single command.- Optionally display a report for unmatched clips.This workflow already exists in other professional NLEs and is especially valuable for film, television, and documentary productions.Adding this feature would save editors a significant amount of time and make Premiere Pro a much stronger choice for large-scale post-production workflows.Thank you for considering this request.

Most poly WAVs include metadata about track information like kind of mic used, names of characters, etc. E.g. TX, BOOM, MS. This data is unavailable in the metadata display in PP. Would be great to add this to the default metadata options.

This one seems to have been floating around on the forums for a couple of years but we are still pleading. Production Sound Mixers take the time on set to properly label their audio tracknames. Editors need to see these in the Premiere Pro timeline, like this:  In Premiere, the current trackname labels of [Ch.1], [Ch.2].... are not descriptive enough.Currently, tracknames are found under "iXML", buried at the very bottom of the Metadata panel, behind numeruous drop down menus. This is not adequate.  Having this simple piece of metadata in the timeline will save a huge amount of time and headache and is an absolute necessity in professional editing software. Thank you!

Multichannel sound is hard to navigate. Fortunately, Sound Mixers label tracks with actor name/microphone information. Unfortunately, Premiere hides this data behind a wall of dropdown menus:Simply, we need this simple metadata in the timeline. This is a basic necessity for professional editing software which I am really hoping Adobe will be able to implement soon! When we finally have these labels in our timeline, it is going to save us so so much time and headache. For a visual reference, DaVinci Resolve does this perfectly: Thank you for your time! 

Maxon, after acquiring the assets of former Red Giant Software, on 1st of Febuary 2023 announced that they were entering PluralEyes in Limited Maintenance Mode, meaning that the company will continue to provide technical support and critical bug fixes for PluralEyes 2023.0.0 for one year after this announcement.   Of course, the key benefit of using PluralEyes over the Synchronise feature inside PPro was that you could have multiple audio and video clips thrown onto a single timeline and let the software synchronise clips automatically, based on the audio portion, so you could have crisp audio from a single camera attached to a properly placed mic matched to that of other cameras that only recorded audio in-camera or with an on-board shotgun mic. With Synchronise inside PPro you can only do this with one take at a time, not a full day's worth of takes on a single timeline.   For this reason, PluralEyes used to be my go-to solution for synchronisation based on audio.   Pl

While we are able to option/alt-click a marker and drag to give it a duration, it would be a bit quicker to have a keyboard shortcut that would convert an in and out selection to a marker with that duration. And also, to be able to right click a marker duration and have the option to mark that as an in and out selection.

I work for a large telecommunication corporation where our font specifically needs to be set to Optical Kerning to match our brand standards. Currently in Premiere Pro there is no option to adjust the kerning from Metrics to Optical like seen in After Effects or Photoshop. You can select one text at a time and adjust the kerning manually per letter but not as a whole block of text. Although this change seems insignificant it is important to our brand recognition. My current method of creating the proper kerning in either After Effects or Photoshop works but is more time consuming than if it were already set up within Premiere from the get go. See screenshots below of the differences betweeen the kerning option between each piece of Adobe software. Premiere:After Effects:  Photoshop: 

Screenshot from Resolve Preferences - unless I have missed a setting PPro stretches to fill the output raster rather than scale. I would love to see this option in future releases.Thank you.

Hello Adobe team,I'm currently using an AMD Radeon RX 7600 XT GPU on Windows 11 (version 24H2) with the latest WHQL-certified AMD Adrenalin driver (v32.0). I'm running Premiere Pro version 25.3.Premiere Pro detects and utilizes GPU acceleration through OpenCL, and I’m able to use the Mercury Playback Engine GPU Acceleration (OpenCL) renderer successfully. Both hardware decoding and encoding are enabled, and GPU usage is clearly active during playback and exports. Everything works correctly from a performance standpoint.However, the System Compatibility Report still flags my GPU with a warning, suggesting that it may be unsupported or incompatible. I’ve verified through logs (GPUSniffer OpenCL detection, etc.) that the GPU is fully recognized and functional. It appears this is simply due to the RX 7600 XT not being officially whitelisted in Premiere Pro's GPU database.I’m requesting that Adobe consider officially whitelisting the AMD Radeon RX 7600 XT, or at least updating the compatibi

Please add Turkish subtitles in the new version of Premiere pro 

Is it any chance for Speech-to-Text to get a Ukrainian language support in Premiere Pro? That is a huge time saver feature, but it isn't available on Ukrainian. All Ukrainian creators would be eternally grateful for our language support in this great software. 

Do you have any data on how many people use the Anti-flicker Filter? Would none% of users be accurate? Why is that still there? I want to turn it off cos I never use it and it's at the very top of the list of effects.. I'd love it if we could hide/show the various options within the Effect Controls to gain precious space back for the things we don't use.For eg, you'd just right click on Motion and toggle on/off the ones you don't want. Same with Opacity, Time Remapping and any additional effect you add on.  The crop tools are especially egregious. Sure that might be helpful sometimes but for 4 lines of real estate to be constantly in my face when I'm mostly not using it, and then all my additional effects are a large scroll wheel away is very infuriating. This should all be optional. And crop especially should be a twirl down to unveil the 4 crop dimensions, not 4 unmoveable lines.

Instead of resetting all preferences, allow users to reset individual preference sections (for example, Media, Media Cache, Timeline, Playback, etc.).This would save users from losing unrelated settings when troubleshooting a specific issue.

Is it possible to include FFMPEG codecs in Adobe Products? I’ve worked on many low-to-mid-budget documentaries that have .mp4 Long GOP footage, including lots of non-professional footage like iPhone HEVC. Premiere is much better working with this footage than Avid, but we still run into problem after problem. Having FFMPEG codecs in Premiere may help alleviate some of the problems (even if it’s unlikely to address all the problems with iPhone footage).

This is by no means a new request. I have been clamoring for this since Productions launched. But, it's such a basic and critical part of working in Premiere that to not have this feature feels like a collossal oversight.   WE DESPERATELY NEED TO BE ABLE TO SEARCH FOR CLIPS/METADATA/MARKERS ACROSS ALL PROJECTS IN A PRODUCTION.   It's not enough to just be super organized, but for now that's our only option.   BEGGING FOR THIS! PLEASE!

Please add an option to select all clips in the timeline that share the same label color.Example:Right-click a clip → Select → Select All Clips with Same Label Color.Many editors use label colors to organize B-roll, graphics, VFX, SFX, music, and review stages. Currently, label colors only provide visual organization and cannot be used as a selection criterion in the timeline.This feature would significantly speed up editing workflows and make label colors much more powerful for large projects.

Add a preference to prevent the playhead from snapping to audio fade transitions.When adding B-roll and trimming it to match the timing of an existing clip, the playhead often snaps to audio fade handles, making precise positioning more difficult.