Feature Requests

Let us replace a keyframe by dragging a copy of an other keyframe on top of it.Just like in After Effects.Please make these kind of things work alike throughout the Adobe apps.  

Hello Adobe Community,I'm experiencing a thumbnail display issue with SLog3 footage in Premiere Pro 25.3.0 that I hope someone can help resolve. Current BehaviorSource Monitor: When I load SLog3 clips in the source monitor, they display correctly with proper Rec709 conversion. The color processing is set to "gang to active sequence color management" and the footage looks properly tone-mapped with normal highlights and contrast.Project Panel Thumbnails: The same SLog3 clips display in extended dynamic range in the project thumbnail view, showing completely blown out highlights and appearing very flat/washed out. This makes it extremely difficult to browse and select clips. My SetupPremiere Pro Version: 25.3.0 (June 2025)Camera: Sony (SLog3/S-Gamut3.Cine footage)Sequence Settings: Rec709 color spaceProject Color Management: Standard workflow What I've TriedBased on previous forum discussions, I've attempted:Auto-Detect Settings: Enabled "Auto-detect Log Video Color Space"

Usually, I take meticulous care to lable my clips by name. In a recent update, the "Find" (ctr+F/Cmd+F) was replaced with some AI infused nonsense that has completely erased the ability to search precisely within the timeline and sequence. The workflow I use has began to heavily rely on on finding all of my clips with similar names - as I often have several alternatives lined up. I like to be able to see what variations I have used and which are still unused. This new "find" function takes up way too much space by default, opening an entire panel. All of the functionality of the "find" and "find all" has been replaced by some hacky AI analysis that requires describing the clip vividly, and even so, it takes extra steps to actually see the clip in my sequence, and its nearly impossible to use this function in simple way that I need it. (I can't even type the exact name of my clip and see any results.)Hugely disappointed at this "cutting edge" feature that threw out the baby with th

SUMMARY When changing the playback frame rate of a clip, the playback adjustment should apply to the high  res footage as well as to the proxy media.  If not (as is the case now), the proxy workflow is basically useless unless generating a new proxy for the clip(s). EXAMPLE Our base frame rate is 25fps. We ingest footage at it's original frame rate and generate proxies at that frame rate, say 24 fps. As Premiere's internal frame rate interpolation often degrades the quality of the footage, we like to change the playback frame rate to 25 fps in cases like this:  However the proxy will still play back at 24fps. This will result in different fames shown when viewing highres vs. viewing proxies, as in this example at the same point in the timeline in highres vs. proxy mode (see track marks):  This issue can only be fixed by creating new proxies. As Premiere has no issue handling the change of playback speed for highres footage, surely

hello folks, wrapping my head around some new workflows (having premiere auto transcribe dialogue and to be able to jump aorund the edit using the transcription text panel). Also new is it's now harder to double click a text item in the program viewer (canvas/monitor window) to edit the text, but not there's a handy dandy text panel where I can see a big list of of on screen text graphics and edit them right in that window.However both the 'Transcript' and the 'Graphics' tabs are SUB TABS of the Text Tab, and cannot be separated. I'm currently labeling up a long timeline with graphics notes and using the transcript to navigate the dialogue faster and then editing my text items on the timeline which are basically notes to myself and other collaborators who are looking for photo assets for me, so I need both these windows up simultaneously but they are trapped under the Text Panel and cannot be displayed at the same time.So either make it possible to have multiple instances of the T

Sometimes I'll be editing a clip and have not brought in the audio from the clip or something... it'd be great to be able to right click a clip in my timeline and not only have it "reveal in project" but open the full source clip in source window and then put in an "in and out" point on the timeline in the source window so that I can know where inside the clip I pulled it from. 

When I transcode and consolidate my project, it copies the proxies of every clip in my project. It takes a ton of time for files that should not be there. I would like a check box to either include or exclude proxy media.

I'm genuinely surprised that even after so many years, Premiere Pro still doesn’t allow users to rename video or audio tracks directly on the timeline.It would be a fantastic productivity boost to be able to label tracks – for example:🎙️️ Voice Over🎧 Sound FX🎼 Music📹 B-roll, etc.This feature already exists in Adobe Audition, where you can rename each track to organize your session more clearly. It would be great to see the same logic applied to Premiere.This would improve workflow clarity, especially in large projects with lots of layered content.

hiIm wondering if you guys can make a Shortcut for this actionShow Clip Keyframe > Time Remapping > Speedi use it all time but i cant have a shortcut for it and its takes 4 steps which is too much

What the hell does this mean?It's German, but it's not translatable. Is this state of the art? Seems we are years away...

In previous versions of Premiere Pro, the Essential Graphics panel allowed users to apply styles like fonts, sizes, and drop shadows across multiple text clips using linked styles or copy/paste workflows. Now, with the new Properties panel replacing Essential Graphics, some of that functionality has been quietly removed or broken. Specifically: when selecting multiple text clips, the ability to apply a linked text style vanishes. Even basic properties like font or alignment can’t be batch-edited. Oddly enough, drop shadow still works on multi-select, proving the software can handle it, Adobe just didn’t finish the implementation. This change slows down workflows dramatically for anyone working with series-based text graphics (interviews, lyric videos, doc captions, etc.). Please restore or rebuild the ability to:Apply text styles across multiple clips at onceUse linked styles on multi-selectCopy/paste full text styling efficiently The new UI is visually cleaner, but it c

Current behaviour is to require source video tracks to be lit, and I can understand this for audio (where there are usually multiple tracks even on a source clip) but there's usually only 1 video track - so it's a 2 step process. Well 3 normally cos first you have to not have the drag work. Feature request: IF there is only 1 of the track type dragged from source monitor available, then disregard track light state when dragging video-only or audio-only icon from source monitor to timeline.

I would like there to be an option when using the Rotation property of a clip to fix a non-level horizon (I have had to rotate between 1 and 5 degrees on clips) that exactly zooms the clip in just enough to eliminate any transparent areas revealed by the rotatation instead of doing it manually.

Hi, I would love to have an option in PremierePro to drag multiple footage to multiple tracks, not to one track as it is at the moment. As an example, if you do a soundrelay with audiostems you have to drag them one by one onto the desired tracks. For one ore two videos its fine to do that this way, but if you have to reapeat these steps for 70 videos its a bit annoying not having such an option.Same situation if you need to compare/qc videofootage with each other you have to stack them manually, which costs a lot of time.Is it possible to get such a feature? Maybe with a key pressed while dragging the footage into a seqence.CheersMichael

Better Sorting!!!!I mean, it's probably there, but I've been using Premiere since 2004. Granted, taken many breaks and breakthroughs since then. But in the Project Media files, why can't I sort by date, time, filesize, modified time, etc??? 

Hi there, I’d love to see an option added to both the Quick Export window and the Export workspace to automatically open the output folder when an export is complete. This simple checkbox would save a lot of time otherwise spent manually navigating to find the file for review or posting. It’s a small change that could make a big impact on workflow efficiency. Thanks for considering it!

Hi everyone,I'm struggling to figure out how to properly use the Boris FX Mask ML plugin in conjunction with Lumetri Color effects in Premiere Pro 25.3.0 on macOS, and I'm hoping someone can help me understand the workflow. My Setup:Premiere Pro 25.3.0 on macOSBoris FX BCC (Continuum Complete) suite with Mask ML effectThe Mask ML plugin is working and creating masks successfully What I'm Trying to Do:I want to use the machine learning-generated masks from the Mask ML plugin to isolate specific areas for color correction with Lumetri Color effects. I can create the ML masks just fine, but I'm not sure how to apply them to Lumetri Color. Several Tutorials recommend to copy the tracking data to clipboard and paste it to the opacity row of the effect as a mask but the ml maks cannot be copied. "Export Failed: Exporting shape data from layers with Mask ML contours is not supported" Specific Questions:Do I apply the Mask ML effect first, then Lumetri Color?How do I transf

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