Feature Requests

I would like to be able to change the font and font size across the board in the interface. it is WAY to small for my old eyes

The Sequence Index is great for finding missing/offline effects but at a glance it seems that it missed the majority of the clips i am looking for. It lists only legacy filters such as Gaussian Blur (Legacy) in the Effects column but for offline filters such as Filter Offline (RGB Curves) the Effcts column is blank.It finds the clips, with the orange label color on the attached image, and for me that already knows that those clips are the ones i am looking for it is easy. If i don´t know i would probably miss that all clips have the Filter Offline (RGB Curves) on them, the clips i am actually are looking for. In Search Index Options i have filtered Effects Missing since i am looking for missing effects and offline effects such as RGB Curves in old projects.Please inklude Offline Filters as well in the Effect column. :)  

This one is kind of related to this feature request:  But I miss this feature not only for clips but entirely and especially for timelines.It would be a great additional quality of life feature that reduces multiple steps to only one and make Premiere more keyboard friendly.At the moment it looks like this:I add a marker I split the marker I drag drop the marker end point to the desired position (or set the timecode in the marker popup window)Splitting the marker is only possible by either mouse (alt+click) or the marker popup window where you can set the duration.A command that would take io/out markers as an orientation would be only one step. The other way around would be useful for getting a range you want to export without the need to:Navigate to the range marker start point Set in marker Navigate to the range marker’s end point (of course that can only be done with mouse if you want it to snap to the exact point as the “go to next marker” command ignores the end points of range m

When in the Frame Mode for a shape masks add a way to show that a mask is keyframed on the current frame. eg by turning the mask outline and/or the transformbox red, and make it clearer red for keyframed frames and less red for non-keyframed frames (like how its done in AE) . Also add a buttons to jump between keyframes for the current mask.This would make it more obvious for users figuring out how the Clip/Frame Mode works and it will be faster to modify already set keyframes so you dont accidentally place keyframes too close to each other.This is also kinda how it works in Resolve.see attached mockup:  

Please add a Find and Replace feature that allows us to easily find & replace within clip, bin, and sequence names. As an Assistant Editor, I'm constantly needing to do minor batch renaming to large numbers of clips and sequences in Premiere. Avid recently added this feature and it has been a godsend. I do not want to rename the original files in Finder, so Bridge is not an option. 

Hi! I work with music audio stems daily (all with the same timecodes and length) and would love a way to easily stack them each on their own audio track instead of having to go through each stem one by one to place them where they need to be. Kind of like creating a multi cam clip but without nesting the tracks.Thanks!

Hi, community. Now is 2025. Nvidia has launched their 5000 videocards which boast the support for the 4:2:2 pro-grade color format, multiview-HEVC (MV-HEVC) for 3D and virtual reality (VR) video, and the new AV1 Ultra High Quality mode. They speak about 8 (EIGHT!) 4K streams in 60 FPS per decoder.In addition to that "the old" RTXs have long been able to decode a lot of other codecs flavours:Intel iGPUs have had even a wider range of codecs support:And there is Premiere Pro with all these BEAUTIFUL red crosses, left of the majority of codecs support. In 2025. I don't know whether it's some kind of conspiracy, coding difficulty or license issues, but having so few codecs support in a professional software like Premiere Pro in 2025 is unacceptable. Especially with the counter party impersonated by the BlackMagic with their software starting with a D, that long ago added more codecs support than Premiere Pro has even now. So, Adobe, please add the i(GPU) acceleration for oth

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.

Hello. I'd like to see a master key to assign effects OR a way to map effects and presets to the keyboard using the Keyboard Shortcut tool. I've submitted this request before having come from Final Cut Pro and it was a huuuuuge time saver for me in the editing process as I used this feature on FCP multiple multiple times on every single edit I did, every day, and I can't imagine others would not have the same reason for using it as me and I likely very frustrated at how long it takes to apply the Warp Stabiliser effect, for example, to a clip or a series of clips. This is a very consistent task that I do in every edit and many many times in each edit usually. I'm sure I'm not the only person who is constantly adding warp stabiliser to shots by dragging the thing onto every clip and then setting the smoothness percentage. I can't even manage to just select every clip I want to throw the stabiliser on to and then copy paste a version of the effect that I've set the smoothness percentage

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.

Please add the Polish language support