Feature Requests

When editing with photos and videos often we’ll shrink an image on a top layer incorrectly (v1 for instance).  [Think 4K video on 1080P timeline 48% scale - the image on top does not fill the screen completely].  But because V1 image might be dark and it’s over “system black” (default layer) it’s tough to see.  We then export the video and only notice that V2 isn’t sized large enough when watching playback.  So we need to go back into Premiere and fix. When working with a lot of image resizes I often make an orange colored background and put it on v1, then do the rest of the editing on the layers on top (V2+).  If any are not sized correctly I’ll see the orange and know to fix.Perhaps something like SAFE MARGINS that you can click on and off, yet doesn’t show up in the actual output.

The idea is as simple as it can get, just let me change the Guide from the preview window. It’s totally unnecessary to go the ‘view’ section and change it from there, I’m constantly with my cursor near to the timeline and preview.A right click on the ‘Show Guides’ tab of the preview window should make the saved templates of guides pop up so we can switch it from there.NOTHING ELSE. 

Reset Queue in Media Encoder will pull newly saved Premiere Pro project into Queue.  Say I make a timeline of 30 promos in Premiere Pro (in/out and add a clock number to each promo) then I send each individual one to Media Encoder.  Then I run Queue in ME and export everything.  If there’s a problem with the promo and I fix the issue in Premiere Pro, I need to do all the above again with each of the 30 promos.  You think there would be a way to ‘reset’ the Queue and when you run the Queue again it looks at your newly saved Premiere Pro project (with the promo fix) and them exports everything again with the fix.  

🎙️ Audio VST Effects like Duckers which I want to use for voiceovers need sidechain to work.(Lower music volume when voice is speaking)So please please Adobe, implement this normal professional feature in Premiere Pro.Thanks a lot. 😀Then I can use https://unitedplugins.com/VoxDucker/ finally.  

When I'm in Color Mode in Premiere Pro 26.5.0 (currently Beta), it would be nice to have a tracking button for the Object Mask Tool.Currently you have to open the Effects Control and go to Color Effect > Clip > Adjustment > Object Mask > Tracker.Since the Color Mode is a revamp version of the color mode, I think that the object tool selection is something to use all the time when color correcting stuff. To go to all that menues just to track, seems too much.When Toogling the Object Mask Tool, have a button somewhere, maybe like a Style Module, where you can track the subject and also change feather and stuff like that.

When I'm using a dual-monitor setup, whenever I want to attach proxies or link media, the pop-up window is too small to comfortably search for the materials, it looks like a programming error. It's very time-consuming to keep switching workspaces just to be able to properly view the material. 

Just like pressing “,” will copy an in/out selection as a clip into a sequence, I would like the option to do this between two sequences as well as if the selected clip were dragged from one to another.

Social media demands engaging content capable of “hooking” the viewer in an infinitesimally short amount of time. One way to achieve this is through a rapid succession of frames.When editing short form content, I review a longer clip at high speed and place point markers at each segment I want to include in the final edit. Currently, I go back to each marker, and select an in and out range to then drop into a rough sequence of rapid edits. It would drastically improve my workflow if I was able to convert each of those point markers in mass into duration markers, of a chosen length, and then drop them all as clips into a sequence.So the proposed workflow would look something like this:-set point markers-convert all point markers to range markers, length 3s, proceeding the marker, preceding the marker, or centered at the marker.-create new sequence with all range markers, or drop all range markers as clips into new sequence

Lots of Audition subscribers, including me, need a good desktop video editor as well but don’t need to subscribe to the whole Creative Cloud. It would be great to have a subscription option for 2-3 apps rather than having to choose between one or “Every single one.” Express is good but doesn’t have an upload to YouTube option like Premiere does.

As listeners increasingly expect to listen to audio at 1.5 or 2x normal speed, a common request I get is to speed up a voiceover. When I do this in Premiere, and recorrect the pitch, it always degrades the quality. Auditions Stretch and Pitch process does way better but it really bogs down the work flow having to jump in and out of Audition, especially when revisions or VO punch-ins needed. Would love to see Audition’s Stretch and Pitch process (or something like it) exist natively in Premiere.

They decided to mess with this for some reason--it used to have the simple little status info in the lower right corner and you could easily see the progress of when the audio file analysis would be completed. The message also just disappeared on its own after a bit, so no wasted screen real estate.  It also started to show you any completed waveforms so you could start editing long clips long before the analysis completed.  NOW: They moved this to the Progress panel, which requires you to functionally use up 12-15 times the amount of space on your screen to be able to read it at all, manually close it afterward to get that space back AND it makes you wait until the analysis is completely finished before showing any waveforms at all, delaying my editing sessions for several minutes after every import.  Can we go back to the old way or is this just another example of software getting worse with every "improvement?"

Hi Adobe Team,I am a professional editor working on long-form projects. I’m currently working on a 20-minute sequence that contains over 50-60 clips with the Warp Stabilizer effect applied.Every time I move these clips to a new timeline or nest them, the effect loses its analysis and displays the "New frame sizes; click Analyze" or "Analyze" banner. Manually clicking "Analyze" for 60 individual clips in the Effect Controls panel is an incredibly tedious and time-consuming process.I request the following features: Background Auto-Analysis: An option to let Premiere Pro automatically trigger the "Analyze" button in the background whenever a clip is moved or changed. Global Analyze Button: A single command (e.g., Sequence > Analyze All Warp Stabilizers) that triggers the analysis for every clip in the active timeline at once. This would significantly improve the workflow for editors dealing with high clip volumes. Thank you.

In any other NLE, I can shift-select multiple elements to move them by hand, without nesting or pre-comping them. It seems very basic, and when doing animated titles, it’s a huge time-suck to move each word individually. It would be REALLY cool if I could shift-select multiple elements and use numerical values (in the inspector) to move them as a group. Since each element has a different position value, I assume this would mean the inspector would display an average position or “null“ position, and then sliders or numerical entry would move the entire group. 

Warp stabilizer is seemingly not smart enough to complete analaysis of multiple clips at once. I NEED to be able to set off multiple clips at once and rely upon it to complete, rather than randomly stopping half way through analysis. This has been an issue for literally years. FCPX could manage this task in 2018, so why in 2025 can Premiere Pro not?

This feature.I click on a shot in a 1080x1350 ( in this example) 60secs sequence and resize it for a 4x5 deliverable. I right click (ideally) and it finds all sequences where the same shot (clip name, in-to-out point) is used in other 1080x1350 timelines and I commit the new Motion/Opacity scaling to all other versions (these are normally cutdowns)Davinci has something now called Multimaster Trim Manager and Flame has Connected ConformPlease Adobe help me stay in Premiere a bit longer….

The Metadata Display customization could be a little more helpful, mainly having a way for saved settings to remember the order we have placed the metadata columns in. I find that each new project I start (while I can bring up the particular fields I want again), I have to re-order them in my project window each time. Adding order to a saved setting would remove a lot of headache.

Big picture: Copying color grades between sequences is a pain. Context: I am editing several multicam sequences from the same source multicam sequence. When I color graded the source sequence, only the sequence color operation was applied to the nested sequences. Which is unfortunate because I graded each camera angle in a group operation to match the others. So my only option has been to copy and paste between all of my sequences, each Group operation for each camera angle, and the current workflow for that is horribly inefficient:Sequence 1> Color Mode Workspace> Select Clip> Select Group Operation (Eg. Camera 1)> Copy> Edit Workspace> Sequence 2> Color Mode Workspace> Sort Clip Grid> Select Clips in Group> Paste GradeFeature Fix ideas:All of the color grade, sequence, group, and clip operations made to the multicam source sequence will be reflected in all of the nested multicam sequences. I can save a group color operation as a style, which is saved uni

Implement a "constant quality" encoding option in the H.264 encoder.  Sometimes you just want to output the best or visually lossless quality files and care less about the specific bitrate.  The "adaptive bitrate match source" preset sort of does this but still selects a somewhat arbitrary bitrate and if you uncheck the source size and scale the frame rate up or down the bitrate remains unchanged.  A primer: https://superuser.com/questions/677576/what-is-crf-used-for-in-ffmpeg Honestly, I just use one ffmpeg preset that has a -crf setting of between 15-18 most of the time in a little applet called "another gui" because of how backwards Premiere's export page has become as of late and it launches 100x faster than media encoder. It makes really nice H.264s with these settings. I think we should keep all the other options for commercial broadcast delivery etc, but for web, just having a decent -crf setup is pretty nice.  https://www.stuudi

Add a Transcription Dictionary feature that allows users to define custom terms (e.g., acronyms, brand names, technical jargon) for auto transcription and captions. Users can manually add terms or upload a document (TXT, CSV, Word) with approved terminology. Premiere Pro then prioritizes these terms during speech recognition and applies correct spelling and casing. Value: Improves transcription accuracy and eliminates repetitive manual corrections, especially for corporate and technical content.

Automatic captioning in Dutch works well overall in Adobe Premiere Pro and is a valuable feature for accessibility.In my work within the Dutch government, I produce many educational and communication videos where accurate subtitles are essential. However, I currently spend significant time correcting captions because the AI does not recognize organization-specific terminology and abbreviations.The main challenges are:Domain-specific abbreviations that are not recognized Differences in pronunciation (some abbreviations are spoken as words, others letter-by-letter) Strict formatting requirements (e.g., specific uppercase/lowercase conventions)These issues are understandable given the specialized nature of this terminology. However, many organizations already maintain standardized abbreviation and terminology lists.Suggested improvement:Add support for importing or linking a custom terminology dictionary (e.g., glossary or abbreviation list) that can be used by the speech-to-text engine w

Sony cameras such as the a6700, FX30, A7sIV can capture photos in HEIF format, with a .HIF file extension. These files are supported by current versions of Adobe Camera Raw, Lightroom, and Photoshop. However they are not supported in Adobe Premiere. HEIF is the standard format of the Apple / iPhone ecosystem since 2017 (iOS 11). It is a superior alternative to JPEG for Sony shooters along with / instead of RAW. Sony HEIF supports 10-bit color 4:2:2 and HLG color space for HDR. A HEIF photo taken on an iPhone 12 with .HEIC file extension will open correctly in Premiere. However trying to import an HEIF photo from a Sony FX30 with .HIF file extension results in “File format not supported” error in Premiere 26.2.2.If I rename the .HIF Sony photo to .HEIC or .HEIF file extensions, then Premiere will allow them to import, however the photo never appears in the Source or Preview monitor, instead it just shows black.Please support Sony .HIF photos in Premiere, as they are already supported in

Right now when you use the time remapping feature in Premiere Pro, it does not influence the audio linked to the video, so if you want to make a gradual speed ramping, your audio looses synchronization after the point where the speedramp starts. I suggest adding speed ramping for the audio as well - an automatic one that changes the audio pitch to the same extent as the speed of the video, and a separate one - to manipulate the speed of an audio that is unlinked from the video or has no video at all. I'm not talking about changing the pitch but rather changing the speed with the time remap handles like it's done with the video, so the duration of the audio track is changed as well when applying this time remapping for the audio.I know, I can cut the part I want to change the speed of and use "Maintain pitch" checkbox but this is not time remapping, but rather changing the speed abruptly. Suppose I have a video of a basketball match and I want to speed-ramp the goal moment retaining the

Why can’t I assign a keyboard shortcut to File > New > Black Video?Hi everyone,I’m trying to assign a custom keyboard shortcut in Adobe Premiere Pro for:File > New > Black VideoBut I can’t seem to find this exact command in the Keyboard Shortcuts panel, or I’m not able to assign a shortcut to it.I use Black Video often, and it would be much faster if I could create it with a keyboard shortcut instead of going through the menu every time.Is there a reason why Black Video is not available as a shortcut command?Is this a limitation in Premiere Pro, or am I missing the correct command name in the Keyboard Shortcuts search?Also, if there is any workaround, such as using a preset, macro, script, or extension, I’d appreciate any suggestions.Thanks!

Just the option to make the menu bar ('file', 'edit'...) in Premiere etc. Black instead of pure white would go a long way, as it can get really irritating during longer sessions.That along with other elements, like the right-click-menu, that are solid white even when program and OS are set to dark mode. 

Currently, Premiere Pro displays an "Estimated File Size" in the Export window, meaning the software is fully aware of the projected file size and the destination path. However, it does not cross-reference this data with the actual available space on the target drive before starting the render.Recently, during a long 1.5-hour documentary export, my export crashed on the very last frame, throwing a generic, misleading "Error Code 39 / Selector 9 (Component: H.264 of type Exporter)". After hours of troubleshooting effects and source clips, the actual culprit turned out to be a full destination disk.The Request: Please implement a simple pre-flight check in the Export workflow. If the available space on the selected drive is less than the Estimated File Size (or within a 15-20% safety margin), Premiere Pro should pop up a clear warning BEFORE processing: "Warning: The destination drive may not have enough space to complete this export. Please free up space or choose a different drive."Fur