Feature Requests

Dear Adobe! Please add to Premiere Pro the ability to represent project resources as a tree! (as in Davinci or Media Composer). In the current view of the project window, it is absolutely impossible to work quickly with a large number of different resources and folders!

It would be even more helpful if translate captions in Premiere Pro could support Thai language as well.

Please enable the ability to change color of the work area bar. It is difficult to see.Thank you.MacOS 15.5 - Premiere 25.2.3

Feedback: Please Make Premiere Pro's Title Bar Match Dark Mode Like Photoshop/IllustratorDear Adobe Team,Thank you for your continued efforts in improving Premiere Pro. As a loyal user, I appreciate the powerful tools and workflows the application provides. However, there's a persistent inconsistency in the UI that has been a source of frustration for many users:The Title Bar in Dark Mode Is Still Bright WhiteWhen using Premiere Pro in dark mode on Windows, the application’s title bar remains glaringly white. This disrupts the otherwise cohesive dark theme and creates unnecessary visual strain—especially in low-light environments.Photoshop and Illustrator Handle This BetterApplications like Photoshop and Illustrator already support dark title bars that align with the rest of the UI. This makes the user experience more seamless and visually consistent. Premiere Pro, as part of the same Creative Cloud suite, should offer a similarly polished experience. Why This Matters:Visual Consi

Having a functioning color picker that identifies its space/color in lumetri scopes would greatly improve efficiency for all Premiere pro users. This identifier would show in parades, vectorscope, histogram. I believe this should be a relatively simple addition with huge impact Currently, for skin tone adjustments users have to create a mask on skin then make adjustments, hide the mask to look at the overall image, unhide it to make further adjustments, and do all over again to your liking. Not only do you have to keep switching back and forth between panels, you have to create a mask for each clip. This eats up an enormous amount of time and becomes a back and forth game.  Alternatively, users can use the HSL secondary to select colors but without this color picker or using the mask, one would not know how they are affecting the colors relative to the scope. If you are a technical grader, your needs are not met here.

Hello! Now that Premiere has generative extend, I think it would be awesome to use similar technology to enhance the morph cut feature.  When editing interview footage, for example, morph cut can sometimes create unnatural moving or visual artifacts, whereas a generative or AI-assisted morph cut could create a more natural, fluid transition in the subject's movement.

Hi, I’ve been a long-time user of Premiere Pro, and I find it frustrating that despite improvements in many areas, the Warp Stabilizer remains far behind both modern expectations and real-world editing needs. The stabilization often fails with standard handheld footageThe algorithm tends to over-distort the image, especially when there’s a moving subject like a person in the frameEven slight movements can cause the stabilizer to react unpredictably and unnaturally  DaVinci Resolve, for example, often handles these situations much more smoothly and naturally. As a dedicated user of Premiere, I would really appreciate it if Adobe could: Work on improving the Warp Stabilizer engine  Thanks,(MB)

I would love premiere pro for iPad Pro. I would remain with Adobe if this software was added. As rush doesn't have all features I need. And don't like Final Cut 

How to put this politely ... ?  Having had my workflow completely disrupted recently trying to reconfigure the colours back to what I've known and used for 12+ years,  it now seems that we've had "Audio Transition Handles" forced upon as well. On audio tracks a small grey box appears at the end of each audio clip when you hover your mouse over it.  As you scroll your mouse across the screen, the grey boxes jump from one clip to another, and it's. the. most. distracting. thing. ever. I've tried all the options in the Wrench/Spanner menu, I've looked at all the options in the three bar Hamburger menu, and I can't see a way of turning thisZfeature off.   Does anyone know how to turn them off?   I just don't want this "feature", please.  Please Adobe, please. Please let me turn this off. This post is also more time wasted I've spent to day, instead of working, costing me time and money. Many thanks all. 

For my commercial and video editing work, I rely on nested sequences quite a lot, for everything from split screen comps to advanced layering and more. Just as I would in After Effects with Precomps.However inside of After Effects, there exists a beautiful feature known as the Composition Mini-Flowchart, where you press tab and it displays a flowchart of where the current precomp exists. You can then use arrow keys to move in and out of the flow, which is handy for comps inside of comps. What I find most helpful in this context is when you open a precomp to make a small change, you can very quickly return to the previous view by hitting tab + left arrow, to go back out to the main composition it resides in.I would love to see something like this in Premiere with nested sequences, whereupon stepping into nested sequences to make some changes, you could quickly step back out, and also see a flowchart illuminating where else the nest exists within your project, or if you want to step furt

Is there any way to have ruler guides be contained within a sequence? I work between 16:9, 9:16 and 1x1 all the time and hate having to change my guides each time I go to a different sequence. I've finally set up some templates for myself which obviously massively speeds this up, but it's still a pain! Any thoughts appreciated or if this can become an idea for the dev team then sweet.... 👀

The Norwegian AI trancription/captioning service "Randi" has introduced "temperature" setting for captions.I want this in Premiere Pro! It would be great for universal design.Here's what they say: Choose “temperature” and preferred sentence length when transcoding your video to get the sentence length that best suits your particular video. This will help you shorten the sentences in the subtitles so that they better suit your preferred style. At high temperatures (50-70%), Randi (the AI) will also try to make the sentences more “general” and readable, as we know from TV for example.

Doing lots of tests exporting from Premiere to Resolve as my colorist wants to work in Resolve. After the colorist’s work is done in Resolve, is it possible to make a tweak in Premiere and update the Resolve timeline?  I wish I could export from Premiere again and Resolve would update the timeline rather than make a new one.  The color settings would remain.  Is this possible?  Thank you.

Over the years using Premiere, this is the one thing that I repeatedly come up against. For sure, it's user error, but I feel like whenever I've added in and out points, Premiere should then automatically use them while exporting.

hello everyonei have videos of my jewelry spining on a turntable.after all the editing and cutting and croping, my video does not fill in the entire background, and it moves around.attached is a very brief sample  - is there a generative ai tool in premire pro that will extend the background to fill in the empty space?-------------------------------------------------------------------------------is there an ai tool that will keep my jewelry centered at all times while it is spining?i know the manuel way of setting up point and slowly moving it every few frames.  but it takes a lot of time------------------------------------------------------------------------------- i am really a beginer and a self thought premier-erso i dont know many of the tecknical stuff.  so please be patient with me-

This is super annoying. I create a keyframe, let's say a motion keyframe. Set it to 50. Then create another one, set it to 100 and put it at the end of the clip. Then I scroll to the second keyframe and suddenly, Premiere has switched me to the next clip in the timeline for some reason. This is so annoying. Even moreso when I'm using my mouse to move the scrubber around, sometimes it juts me all the way to the end of the timeline. I can't imagine a scenario where I would want this behavior.

It would be a great time-saving improvement if video track selection (V1, V2, etc.) could be handled more intuitively, without always having to go to the far left and manually click the track selector.For example, when clicking on a clip in the timeline or even clicking directly on the track header area, that track could automatically become the target track for any new clip insertions — or at least be an optional setting (like "Auto-target on click").Right now, constantly moving the mouse back and forth just to change track targeting feels inefficient, especially when working fast.This small feature could really improve workflow speed and usability.

I did some research recently due to a massive playback issue not too long ago with some HEVC footage I recorded with OBS Studio (for some context, the OBS footage was constant frame rate, not VFR). Here is the link to that post for reference:https://community.adobe.com/t5/premiere-pro-bugs/hevc-8-bit-4-4-4-footage-is-very-hard-to-playback-in-premiere-pro-sometimes/idi-p/14229324 To sum it up, I realized that one of the main causes for my playback issues was with Adobe's lack of support for hardware accelerated decoding for a majority of the flavors of H.264 and HEVC codecs. Here are a couple screenshots as well as links to the articles from Puget Systems back in December, 2022: Premiere Pro: https://www.pugetsystems.com/labs/articles/what-h-264-and-h-265-hardware-decoding-is-supported-in-premiere-pro-2120/DaVinci Resolve: https://www.pugetsystems.com/labs/articles/what-h-264-and-h-265-hardware-decoding-is-supported-in-davinci-resolve-studio-2122/&nbsp

I'm currently working on finishing a feature with a lot of optics, repos, and in-NLE comps as part of our VFX workflow. The film features hundreds of VFX shots that all need to be tracked through the edit, into color, and then back into the edit where some additional conform work is being done. Once we receive a color master that is one single flat file and then start to receive layered comp elements from color, we are working in the same edit timeline. It would be great to be able to SHY or HIDE video layers with a toggle, exactly the same as After Effects does (or... dare I say it... Avid does this). Then you could create timeline view presets just like you currently can with layer heights that includes shy or hidden layers as part of the view. So I could have a shortcut key to switch on/off hidden layers while working on the conform part of the VFX workflow. Simplified example here, you can see that I'm doing comp work ABOVE the color master: Basically I want thi

Is there Generative Fill in Premiere 25.2.3? I see Generative Extend but was looking for Generative Fill (to cover TV station bugs in archival footage).

I'd love to be able to create a custom button to toggle Overlays on/off.   And in general, the ability to create custom buttons would be great for both Source and Program monitors.

The new visual analysis tool seems great, haven't had much time to mess around with it but can see the uses.But it feels really annoying that it is a setting and not an action. If I want to import some clips/assets and not have them be scanned I need to turn off the analysis software wide. If further along in the project I do want some clips imported/analyzed I have to turn it on for everything, needlessly having it scan things I don't need to have scanned.For now this will result in me turning off the visual analysis and probably not using it at all.But if I could just select the clips I want analyzed, click and button and have them scanned? That would be great!

Grouping clips in the timeline is a very powerful but under-used feature within Premiere Pro. Part of the reason it's under-used is because once you group some clips together, there's no visual indicator in the timeline that those clips have been grouped.    Feature Request: Add some type of visual indication of clips that have been grouped together in the timeline. The clip label color should remain as well as all other readable metadata, but by giving the clips a visual indicator that they are grouped, you can quickly glance the timeline and see which clips you want to stay together. This can be useful for sound bites that have been drastically edited but need to stay together. This could be useful for any of you clips in B-roll that you want to easily move and stay together. And this would be different from nesting because when you nest a clip, you can't see what's inside the nest, which is often vital when editing.    If you don't know a

テキストを複数選択したときにもトランスフォームで動かせるようにしてほしい。現状テキストのみを一括で位置調整するには一個をトランスフォームで動かす→コピー→複数選択→ペーストしないといけない。テキスト以外は複数選択しても一括でトランスフォームが出来るので、こちらも直感的に動かせるようにしてほしい。

Can anyone help me? I just recently turn off my computer for a night's rest then the next day this pops up. My premiere cant seem to find the change to color filter and I dont know how to get it back. pls help need this asap, big thanks.     I altered lot using this filter!!! Pls help me need this asap!! Big thanks!!!   Mod note: Title changed slightly.