Feature Requests

In the export tab: codec H264 ---> Audio----> PCM not only stereo but also 6 or 5.1 channel export.

I’m working on a split screen project right now and it is unreasonably difficult. I’m dealing with a lot of clips, so it’s very time consuming to apply a crop and reposition each one. I can’t nest my footage because each screen is interacting with the others, so I need all my clips on one timeline. No time to switch back and forth between 4 nested sequences. An adjustment layer with a crop effect doesn’t work because it crops everything below it, and I need 4 independent visible screens. Track mattes don’t work because they move when I reposition my footage. (By the way, this is ridiculous. Why don’t track mattes in premiere behave the way they would in after effects?) It occurred to me that if I could just apply a crop effect to each track, it would save me tons of time and headache. I could then just reposition my footage within the “frame” the track is cropped to. It would also significantly streamline my timeline cutting down the number of video tracks I need. This feature would al

Greetings. Let's stipulate that PP supports ProRes Raw (PRR). It can be played back and edited, and strangely, over in properties on the master clip, exposure/ISO can be manipulated. That's great. But here's my question: is there any thought of rolling out a more comprehensive package of Raw support to allow for the complete exploitation of raw sensor capture? Here in almost 2025 with lots of cameras rolling out ProRes raw internal (including my new axe), I'm very interested in being able to take full advantage of PRR capture within the PP ecosystem - which I love so much. Thanks! TL

Hi, I've had Atomos Ninja V for my Sony FX3 for almost two years now, but haven't shot but 2 sequences in ProRes RAW regardless of the incredible image quality. The reason for this is that it's extremely impractical to edit with proxies from this footage, as the proxies are automatically encoded in rec.709 instead of slog3, or another color space, which you can choose for the raw files. Could Premiere/Media Encoder be set to pick up the color space you've selected for each clip and encode proxies with that color space? Thank you.Tero

Give ProRes Raw control over White-Balance, ISO and tint in raw controls as well as log conversion. Then it will be useable.

I saw a PP MOGRT in the Graphics Templates called “Loading Screen Overlay” and put it on the timeline out of curiosity, and saw something interesting.In the Effects panel, even though it has keyframes at the start and end of the clip to animate the loading bar, if you stretch or trim the clip’s length in the Timeline, the keyframes follow to make sure they stay at the start/end. It even shows a unique gray overlay at the ends of the clip on both the Timeline and the Effects windows. I’d want to be able do this with my own effects/custom presets. This is really useful so I don’t have to manually realign my keyframes every time I need to change the length of a clip. But I couldn’t find anything online on how to do this. Please add this as a feature Adobe.

Little tools / options that help to speed up the editing and make it easiler! Adjustement layer (add more option) : Super tools, but sometime you have to move some footage, create nest to apply like you want! Sometime a little bit tricky! Add option (check box) on “effect controls” to be able to bypass or ignore adjustement layer for a items. When checked bypass every adjustement layer above this elementBonus : when selected on “effect controls” see a list of Adjustement layer available above to choose if we ignore one or both   Create a new tab for adjustement layer application. Create a Adjustement layer with all his effects on, then withou drop it on the timeline simply assign witch video #track (or label Color to apply on?)  will be affected by this adjustement. To save space on the timeline (or multiple uncessary video layer) Lock Element in Timeline : We can lock a entire video track but be able to lock a specific items, element, video on a timeline could be helpful on some case.

PROBLEM: How often do I loose keyframes at start/end of clips when trimming a clip and the keyframe is then out of visible range.SOLUTION:I want the ability to make certain keyframes sticking relative to clip start and end. It would be great for presets and editing in my case!Imagine the endless possibilties of selfmade transitions.IMPLEMENTATION:It could be simple an user friendly: Let me select keyframes to stick it to: start/end/stretch with length of clip.Or there could be a second option for ‘cliplength-relative keyframing’.I name it: RESPONSIVE KEYFRAMING 😉

If I have an image sequenceand right click and replace footage to a different Image Sequence,The “image sequence” checkbox should automatically be checked.That way it doesn’t replace an entire sequence as a still.If you have used the sequence multiple times, it will wreck a timeline.When replacing a still, it should default to replacing it as a still.Not as an image sequence, even if named as such.We are very CG heavy, relying on image sequences and stills in every single project. With our daily updates, this would be a huge help.

My captions are almost always burned in. I need the ability to fade out captions. Right now, I can't do that with a video transition effect or opacity keyframes. This oversight is a huge step backwards for creating attractive burned-in captions. AND, I have no way to revert to the previous captioning where I can create those effects in a number of ways.

Create a section in the Labels settings for Markers. This section would be identical to the Labels options, so users can modify Marker Colors and Defaults in the same manner that Labels can be modified.

Dear Adobe, it probably makes no sense to write, cause the problem persists for many years already, and users ask for that for many years, but if there is a slight chance, PLEASE, do aling mouse functionality across your product, so that the middle mouse would be hand/pan on the timeline in Premiere Pro.😟

Please add a feature to letterbox or pillar box odd sequence sizes such as 1:1, 9x16, 2:1, etc…This way we can have a live edit session, without pre-comping into a 16:9 sequence, just to playback onto our broadcast monitors.In Autodesk Flame you can edit in any format. Your broadcast monitor format will automatically pillar-box or letter-box the video.This would make for a smoother client session.

How will the idea help your workflow? Adding keyboard shortcuts for "Extending Previous Edit to Playhead" & "Extending Next Edit to Playhead" have changed my edit game in terms of speed. Would love to see this capability extended to Captions in the Caption Track. Currently, they don't work even though the Caption Track is Targeted. Maybe a bug, but gonna request as a Feature I'd like to see implemented. I do a lot of captioning so not having to toggle tools saves me a lot of time spent elsewhere.

I am writing to propose a breakthrough AI feature for Premiere Pro’s Multi-Camera workflow.Currently, auto-syncing relies heavily on Audio. However, in many professional scenarios—like weddings or live events—we have a 'Live Mix' (Reference Track) recorded by the vision mixer.I propose an AI-powered 'Visual Eye' feature that analyzes the frames of the Live Mix and matches them in real-time with the corresponding raw camera angles on the timeline. Instead of manual switching, the AI should 'see' which camera is currently active in the mix and apply the cuts automatically based on visual recognition, regardless of the audio state.This would be a game-changer for editors handling multi-cam projects with pre-existing reference cuts.Best regards,Ashur

Hello Adobe TeaM! It will be great to add a ability to create and save timeline presets. For example, For movies I have couple video tracks with own names and couple audio tracks with own names, but for TV or trailers I’ve got different timeline names and settings. Yes, we have project templates, but I wanna switching between timeline presets just like workslace presets

Can't translate native speakers in Vietnamese without this.

Long time Media Composer editor here. I've edited tons of TV series. Recently swtiched to Premiere Pro and cannot believe the software won't allow me to see the clip durations on the timeline. It's very important for quickly gauging pace and assessing an edit. This software seems to have so many optinons and bells and whistles, but his BASIC editorial control of seeing the clip duration of each clip on the timeline is essential. Until they have this, it's kind of hard to take this software seriously as an editor. At its core, editorial is about pacing, and this software does not give me the very very very basic tool of seeing my clip durations. 

Licensing stock music in Premiere is a huge pain. You have to do it track by track, and it takes 15 or 20 seconds and clicking through 2 dialog boxes. Not to mention, you can only license it in the project that originally downloaded it. In a shared editing environment like in Productions that’s a nightmare because by the time you lock the cut, 3 editors might have touched the project and now your music cues are spread out across projects and you have to go in to each one piecemeal to license the cues, individually again. It feels like it should take one click, instead it becomes a task that can take half an hour or more.

I recently updated to Premiere Pro 2026 and went to create a mask. To my surprise and confusion, there was no option to do so in the Effect Controls. So, after being forced to research it online, I finally found that masks were inexplicably moved to the toolbar. Annoying and unnecessary, but whatever. I went to try keyframing the mask path… and nothing happened. I then had to conduct further research online to find out that, for some reason, I have to right-click on the mask and assign it to “Opacity.” Another extra step that makes no sense. So, I figured that it should finally work. Spoiler: it did not. At this point, I was enraged. Ready to punch my monitor, throw my PC out the window, mere seconds from a crashout. What else could I possibly need to do to create something so simple as an opacity mask? After consulting the internet for the THIRD time, I found that I’m supposed to switch the mask from “Frame” mode to “Clip” mode. Unbelievable. What is it with Adobe and fixing stuff tha

You have added the color mode, but it has removed the ability to make an adjustment layer.  Why can’t we make an adjustment layer and use the color tools?  Now, the only way I can find to do it is to go deep into the effects panel and use the old rude and clunky color adjustment effects that are missing many of the things that were in the Lumetri panels.  Why take away a tool like adjustment layers when you still allow adjustment layers to be made, but just don’t let them do what they used to be able to do.  The color panel only lets me work on a clip by clip basis.  The adjustment layers allowed me to work on many clips at the same time.  AND I could see the timeline still.  

Hi, I wish to make suggestion in regard to Film Impact effects in adobe premiere.First I want to say that I love Film Impact as new addition and I think that is very useful artistically and in the term of productivity.My suggestion is to add Chaos, Earthquake, Glitch, Grunge and VHS damage as effects, which is already case with light leaks. It exists in both categories.Now these are only available as transitions. While there’s workarounds to use them as effects on clip, it would be nice to have them as effects as well. It would be easier and quicker to use them. Thanks in advancebest regard

selecting the right track in the Source Monitor can be very difficult in Adobe Premiere.If I now open a multi-track clip, I  see all the audio tracks labeled with the number one. or L and R. I would like to see it labeled as 1 through 10 or 1 through 16, depending on how many tracks the clip has. I also would like to be able to mute or solo these tracks so I can pick the right track in my edit.  Even more powerful would be when I can do the source patching in the Source Monitor so I wouldn't have to do this in the timeline 

Many editors would like to see a function that allows you to do this one thing avid does which is only open one timeline at a time and toggle it between *whatever* is in the source monitor and the record monitor with a single command like avid.  Davinci resolve recently added this feature. 

The scroll bar in the Program monitor keeps zooming in all the way, to the frame by frame level, so when I hit play, the playhead flies around in a distracting way. Multiple times while I’m working, I have to manually drag the zoom bar out so the playhead doesn’t fly around.