Feature Requests

Interesting feature but I don't need/want it! I would like to be able to set the default to off. Is there a way to do this in PP 2024? 

You claim to have or use AI for this program. WHY jesus WHYchanging colors on subs or ad a SIMPLE, VERY SIMPLE animation like color changing WORD - FOR - WORD, NEEDS a plug-in? This is crap here, ok, you transcribe the video, got it great, but if one wants to change the color or one word in the subs, it MUST be done manually, sub by sub. JESUS!!! A crappy task, especially if the video is LONG. Besides the actual process for doing it now, the mechanics for doing it are CRAP, select the subs, then select the word, then select color, change code, apply... next sub, same process... And imagine if you must change the color of to words separated in the same sub If there are 1000 subs, and on every one, you must be able to change the color of a word... IMAGINE THAT... you MUST put a way of changing the colors of words, letters in the subs that is faster and automatic, and add a simple word-by-word "karaoke style" animation natively on Premiere. THAT WOULD BE A WINNER PROGRAM. As it is now. It

Okay, so hear me out here. We can open bins in new panels within a project, but if a bin is in a production - we can't do the same. Why not include this functionality in bins within a production?And why would we do this? Let's say you're working with a team who has a very flat production structure, basically a production bin for each editor.  I only want my production bin visible in a panel, because I have a whole independent organization of several bins and projects. Instead, the way productions currently works, I must see the whole production panel, with a bunch of other editors individual folders. (There are 5 other editors whose bins are above mine, so halfway down my productions panel is where MY bin/project structure begins).Adding the functionality where production bins could be opened in new panels would be a huge improvement over the current UX. Individual editors could see only the parts of the production that are relevant to them.

In recording, I have to stop, go back, and start from the beginning of the paragraph. In editing, I might start some editing, only to get stopped because I forgot I re-ran that paragraph again.  It would be nice if Text could see that and warn me of a possible edits. So I would see something like thisL   If a simialar word structure shows up within 20 words (for example), the first instance gets highlighted, indicating I might have to fix an area.  If I take 2-3 runs at the same sentance, it would extend the 20 word view so I can catch that it took me 4-5 times to go through this.  Having this text be more predictive will help me continue to edit without getting stopped, or frustrated because I have to do that part again.  

In preferences, you can set a length for default transitions, but not a position. Once the transition is in place, you can go into Effect Controls and set it to End at Cut, Center at Cut, and Start at Cut, but it would be nice to be able to set that parameter as a default, so I don't have to move it everytime I drop in a default transition. Thank you. 

As can be done in Illustrator. In this case I want the top two corners rounded and the bottom two square to create a tab shape.

App version: 25.4.1 (Build 3)Platform: Mac Sequoia 15.5 Idea: In the project window, left-clicking on a label color should bring up a dialogue box containing all the label colors for quick and easy changing of label colors. This is a feature in After Effects that's been around for many years, and I love how simple it is to change label colors in that program. But in Premiere, left-clicking a label color does nothing. You have to right-click the label (or the bin, or the file, etc.), which brings up a dialogue box with many options. Then you have to find "Label" in the list and mouse over it, which brings up the label color options, then finally select the color you want (assuming you don't accidentally lose the label colors window while moving the mouse to it, which is easy to do). I know this idea would make for only a minor time save, but when you utilize colored labels frequently, it gets tiresome going through that procedure over and over, especially having come from

I'm working on a 30 minutes interviews / documetry film.I have clips on the timeline. they all have markers with comments.the markers are not on the timeline - the markers are within the clips.The goal is to export a file of all the markers from the timeline with all the comments time code etc.Every time I try to export the markers to CSV or another format, I get an empty file.In the markers panel, show All markers (Clip and Timeline) option is checked.I searched on YouTube and couldn't find the answer.How to export Clip Markers data from the timeline?p.sI know I can export markers from a clip in the source screen, I need them from the timeline.

I'm sure someone has requested this already (couldn't find it though). In PP you can select a stack of audio clips and add a fade to them. But you can't adjust all the fades at once. Especially with the newer drag to create crossfade/fade feature, this seems like a no brainer. Select your stack of audio clips, or click on a stack of linked clips, drag one fade and adjust and it does that on all selected clips. I'm often working with 6-8 audio tracks associated with the same clip (multuple mics and mixes) and it's a hassle and time consuming to have to drag each individual fade handle and eyeball its accuracy. 

This isn't meant to be criticism for the sake of it, but rather honest feedback from someone who's been using Premiere Pro for a years. At this point, it’s clear that Premiere is falling behind when it comes to advanced editing capabilities. Adobe has been in the game for a long time, yet software like DaVinci Resolve has not only caught up but surpassed Premiere in several areas — from color grading to stability, performance, and even pricing. Hoping that meaningful improvements would come with each update. But every release seems to bring minor changes, more bugs, and crashes, rather than addressing long-requested features. The much-anticipated rotoscope tool was announced long ago, and still nothing. No significant updates to color grading, masking, tracking, or even performance — all things that modern editors rely it  lacks, as editing nowadays has been upgraded. Meanwhile, even platforms like CapCut are innovating at a faster pace and has much better features.

Where we have the crop options in the motion properties, we should have a 'rounding' option to round the corners of any asset. 

In Premiere Pro ver24.4.1, the specifications of Fx badges for clips on the timeline have changed.I think it's a very stylish visual.however···In previous versions, the color specifications for Fx badges were as follows:No changes → GrayChanges due to motion have been added → YellowChanges due to effects have been added → PurpleChanges due to motion and effects have been added → Green I was able to see at a glance what adjustments had been made to the clip.In ver24.4.1, only two types can be determined: "Changes" and "No changes." Change the color of your Fx badge to increase your work efficiency.I have had the experience of being helped by this specification many times, so I would like you to return to the original specification.     クリップのFxバッジによる状態表示を復活させるべきだ。 Premiere Pro ver24.4.1でタイムライン上にあるクリップのFxバッジの仕様が変更になりました。とてもおしゃれなビジュアルだと思います。 しかしながら・・・以前のバージョンでは、Fxバッジのカラー仕様は以下の通りでした。   何も変更がない→グレーモーションによる変更が加わっている→黄色エフェクトによる変更が加わっている→紫色モーションとエフェクトによる変更が加わっている→緑色   クリップに

I cab see in the new update that you'vegot Hebrew spellcheck in the transcribe window. the problem is that there is no Hebrew language pack. coulld you make one available ? 

Can generative extend support clips with alpha transparency? I tried generative extend on my video clip which is ProRes 4444 with alpha and it baked in a black background instead of preserving transparency.This particular setup is a green screen talking head shot where my workflow is to render out the ultra-key clip to a ProRes 4444 file which I import back into the project.This allows me to bake-in the ultra-key and other effects, while preserving the ability to switch out the background layer which is underneath.I know this isn't first-world priority, but would have been nice to be able to use generative extend and preserve the transparency so this would still work.

Lets see if I can explain this correctly.Goal: To line up multiple video clips on the timeline by putting them on the timeline at the timestamp that is showing in the Video In Point metadata - automatically.Scenario: Three GoPro cameras, none of which the times matched, and audio is nothing but wind from riding a bike. One GoPro "Fixed Cam" is set to constant record, powered by a power bank it can record straight for about 10 hours. So there is a "reference" I am trying to line up here. The other two are turned on and off via a remote, and they move from facing rear, to chest mount, to helmet, to tripod, and so on.The footage is coming back with a Video In Point and Video Out Point in the metadata, guessing that is based off the internal clock, as accurate as that can be. Right now I am dropping the footage from "Fixed Cam" onto the timeline and getting a 3 hour plus long clip.I would like to automatically place these clips on the timeline at the points marked Video In Point. They may

When adding a speed ramp to a clip, the timing of any current or future keyframes on other effects gets thrown out of whack.  For example, if a clip has position and scale keyframes on its first and last frame, to steadily animate over time, the timing of these keyframes should be respected when time remaping the clip.  I know that nesting a time remaped clip and keyframing the nest solves this issue, but it's a tedious workaround that shouldn't be necessary.  In the effects stack, time remaping should always apply to a clip first, so that any keyframes added to other effects, including Motion, remain (correctly) relative to their position on the clip itself, as expected. Please fix this!

When selecting text from the Text window for example, and pasting it into an existing title, users should be able to decide that the pasted text take on all of the characteristics of the title that is being paste into, whether the entire title or just part of its text is being replaced!  To add this feature, simply give us a new user-customizable shortcut (which users can set to Ctrl-V/Cmd-V if they want it to be the default behaviour).   Microsoft Word 365 allows users to decide on the fly if they want to paste text with its original settings (Cmd-V) or with the settings of the text it's being pasted into (Cmd-Shift-V). Premiere Pro NEEDS THIS FEATURE!!!!! The default could be Ctrl-Shift-V/Cmd-Shift-V, just like in Word 365. It never stops to amaze me that despite the hundreds of keyboard shortcuts Pr has, it's still missing dozens of the most important shortcuts users actually need! Adobe, please add this!  THESE are the kinds of smal

Please add a mappable keyboard shortcut for the "Overlay" edit mode! I often have to overcut hundreds of timecode-burn edits in a sequence using a new clean master, and would like to be able to mark in/out points on the timeline, based on the existing clip in V1, then edit the clip in the Source Monitor onto an empty track above that clip, without having to manually toggle source/track assignments.  I basically want to be able to perform the same action that occurs when you drag a clip from the Source Monitor to the Program Monitor, then dropping it on the "Overlay" tile, except using a keyboard shortcut! It really surprises me that this very useful edit mode can only be executed via drag and drop!

I love colour match in Premiere, Can this be expanded to include other image qualities like- Exposure, Contrast, Temp etc and include a sliding scale of intensity. Ive had a light turn off mid-shoot and I want to match the colour temp/brightness from the two pieces of raw footageso I can match the light on and the light off footage. I tried to colour match but it couldn't help with this problem. Would be cool to see this colour match feature expanded.

While having 2 timelines stacked on top of one another, if one drags a clip from on timline to another, the new timeline that the clip is being moved to should be in focus. Instead, one has to then click anywhere inside the new timeline to activate it again. Hope that makes sense. It is slowing down my workflow. I know I am not the only one that this is happening to. I work on a team of 4 Editors. Thank you for help. Happy Friday!

Dear Adobe Team,As a regular user of both Premiere Pro and Photoshop, I have noticed a workflow limitation that could be greatly improved.Currently, when importing a PSD file into Premiere Pro as a sequence, all layers are imported as clips but are placed sequentially on the same video track. In contrast, After Effects imports PSD layers as a true composition where each layer is on its own video track, reflecting the original stacking order in Photoshop. This causes extra manual work in Premiere, especially when working on layered graphics.Could you please consider adding an option in Premiere Pro to:- Import PSD layers into separate video tracks automatically- Preserve layer order, basic blending modes, and transparency for each layer- Create a clean, editable layered structure similar to Photoshop's layoutThis feature would significantly improve multi-layered workflows and reduce the necessity to switch to After Effects for tasks requiring layered graphics.Thank you for your continue

We've just bought a DJI Mavic 4 Pro Creator drone and have been shooting in the 1200mb/s Intra 6K ALL-I format which looks gorgeous.  But... it is terribly slow to work with in Premiere Pro 25.4 on our M2 Mac Studio Ultra.  I realise this is mainly a DJI problem as they they adopted a codec that is not supported by NLE's, but does Adobe have plans to add this ALL-I codec to future versions of Premiere?

As an alternative to having to disable Pin to Clip to be able to zoom out on a clip in the Effect Controls window past its cut points, it would be handy to be able to do this simply by holding down the Ctrl/Cmd key while draging out one of the zoom bar circles.  To make this new feature even more helpful, as soon as either zoom bar circles is dragged back such that only the visible portion of the clip appears in the Timeline View,  Pin to Clip would automatically reengage.

Pr 25.4 seems to have introduced an INSANELY ANNOYING evil new "feature" that makes a transition disappear when dragging one end past the cut point.  I OFTEN want to resize my transitions to half their duration, starting ON a cut point.  Now, however, doing so brings up an evil "Transition will be cleared" tooltip.  What was an easy thing to do now requeres that users be ever so careful to drag the transition handle up to the cut point but not a single frame past it.  WHY ADOBE?????  Who asked for this?????? Adobe, why don't you work on adding new features users actually WANT rather than introducing junk features like this that nobody ever asked for??????????? So far I'm finding version 25.4 to be an abismal failure compared to 25.3 because of this horrible new "feature".  PLEASE REMOVE IT or give users the option to disable it.  Thank you!

 i want to add layers below the current one so like if i want to add a video below anotherlike the image shown here arrow is added to illustrate what i mean the reason why i want this is becuase there times where i dont want or need to constantly add layers on top just to move the video/ image downwards after adding zed layer