Feature Requests

An important feature for all editing programs regardless of what they're editing (text, video, graphics) is for undo/redo to make it clear what is being undone/redone. Text editors do this by moving the cursor to where insert/delete is happening. NLEs like Avid, FCP7, and FCPX do it by moving the playhead to where the action happened - and bringing the playhead into view if the move hides it. As far as I can tell, Premiere has no way of showing you what's being undone/redone unless you already know where to look. Please enlighten me if I'm wrong. If I'm not I hope you add this oh so important feature!

It can especially be useful for certain compositing effects, specifically in an HDR project. For example, if you have something that is at the full 10,000 nit brightness, and you set that at 50% opacity against a black background, you should expect 5000 nits. Instead, you get 92 nits because it's working in the original PQ space for those transformations.Working in the PQ space can be useful for plenty of workflows, but for some specific needs, being able to do color calculations in linear space can be very helpful. There used to be an old "Composite in linear color" setting, but it doesn't seem to do anything anymore when I tried it in SDR, and it's completely greyed out in HDR.

Je ne comprends pas qu'un effet tel COLOR METAMORPHOSIS ait été retiré de la liste.  Il était tellement simple d'utilisation. Je souhaite son retour et vous ?

If Premiere Pro had an Auto Sequence feature  like Avid Media Composer, it would save me hours and hours of syncing video and audio.   What I need is a function that lays all the video from each individual camera on a timeline by the timecode and have that sequence match the timecode of the clips so I can "Auto Sequence" each camera's clip by the timecode. When trying to perform a similar function in Premiere (multicam multiple clips by timecode), it trys to put each individual clip on a seperate layer, and that costs me even more time to move the clips on one layer. This should be a basic function and I'm surprised it doesn't exist.  I am working with 10+ cameras that are multicamed with over 12 layers of audio, so I need a way of quickly placing the clips on the timeline by timecode to sync them all which should be a simple thing to do. Something that takes me just a few minutes in Media Composer winds up taking me a whole day in Premiere Pro.

PLEASE add a feature that creates a stringout with gaps based on source timecode (similar to AutoSequence feature in Avid). So many times with lower budget work, I've been given 100+ shots I had to try to sync when timecode doesn't match, the cameras have no scratch audio (they just record 8 dead channels for no reason), and there is no clapper. If I'm able to sync one thing, I'd be able to create a sync map, which can save me tons of time. 

Request to allow us to import ogg files into Premiere Pro. I just finished organizing tons of ogg files in different folders for a project not knowing premiere doesn't support it. The only third party "plugin" I could find was an unfinshed beta made over 10 years ago. So now I'm going through the nightmare of converting them all to wav or mp3 and reorganize all the converted files.

“Please consider adding the Color Mixer UI from Lightroom (with color bubbles for HSL) to Adobe Camera Raw / Photoshop. It is far more intuitive and user-friendly.” Currently, the HSL/Color adjustment interface in Adobe Camera Raw and Photoshop is difficult to use compared to Lightroom’s Color Mixer.The colored circular buttons in Lightroom's Mixer tab are far more intuitive, especially for quickly identifying and adjusting color ranges. It also speeds up workflow for users who work with skin tones, landscapes, or product photos.Please consider unifying the UI experience across Adobe apps. Bringing Lightroom’s Color Mixer UI into Camera Raw/Photoshop would help beginner and professional users alike.Attached is a screenshot comparing both interfaces to illustrate the difference clearly."For many creators—especially photographers or hybrid editors—the bubble-based HSL sliders from Lightroom are far more intuitive than graph curves. It would be great if Adobe could bring this user-fr

After importing a video into Premiere Pro, it takes a long time to generate thumbnails for each video, and the video needs to be on the screen to generate thumbnails for the video I want to generate. This is very annoying for me. I have to work with thousands of video clips, and it takes five to ten minutes to generate the thumbnails for each clip. What's even more annoying is that every time I close the project, I have to generate those thumbnails again when I reopen the project. Is there any way to automatically generate thumbnails and not have to generate those thumbnails repeatedly, even after closing the project? If not, I would like to request Adobe to provide a solution for this.

Ever since the transcription feature was introduced I use it heavily to edit projects, I have found that sharing transcripts with clients is helpful for them to highlight and select lines they want featured in timelines so it is obviously very useful. I think a feature addition that could enhance it would be to enable highlighting lines in the transcript similar to how adding markers to a timeline might work, flagging selections or areas needing corrections, etc... could offer use without requiring cuts in the timeline but could allow finding certain sections in the transcript quickly, even color coding speakers could be helpful. I would also love some frame.io integration for this where sharing the transcript and getting feedback might update with some type of indication in the premiere transcript. 

I've just spent several hours on a project discerning footage between A-Roll and B-Roll, placing that into the "Comments" column in my project panel.  My intention was that once I was done, I could go into any of my many scene bins and type A-Roll into search, and find all the A-Roll for that scene.  Alas, this didn't work.  The way search currently works is that is matches ANY of the characters you put into the search bar.  So, typing in A-Roll will show you all of your A-Roll...but all of the B-Roll as well, because -Roll matches.  Yes, I'm aware you can make search bins that are a bit more specific, but those target the entire project, not a bin with a specific scene, like I need. This could easily be solved if the search bar used standard boolean operators that search engines like Google use.  That way, typing in "A-Roll" in quotes would only produce results that contain that full word, with those characters in that order.  It would be a nice

EDIT: Feature request please upvote: https://community.adobe.com/t5/premiere-pro-ideas/precise-audio-replacement-without-resetting-edits/idi-p/15016141I have a 20 min video that has been edited with many cuts down to 1 min.I then have a new enhanced audio that comes in later, however it's the full 20 min and did not make it into the edit during the editing process. This is so that re-edits that can be made later to include new segments with enhanced audio ready to go. This workflow repeats due to various reasons - in this event, how can one replace the audio? I have tried:- Alt Dragging the 20min enhanced audio onto the edited audio cuts in the 1min, however they all start from 0, instead of aligning timecodes- Right click -- Synchronize, which is greyed out- Replace with clip - from bin - same result as Alt dragging. Other than previous workflow modifications, is there a solution for this circumstance? I'm not looking on ways to prevent this, I know them,

Product: Adobe Premiere ProCategory: Timeline / Editing WorkflowDescription:In Avid Media Composer, when working with a collapsed group of video tracks (a nested sequence), it's possible to double-click and open it inline within the same timeline, make edits, and then collapse it again — all without switching to a separate sequence tab.In Premiere Pro, double-clicking a nested sequence opens it in a new timeline tab, which breaks the editing flow and makes quick adjustments more cumbersome.How this would help my workflow:As a video technician working in fast-paced environments, I often nest multiple layers for organization or effects. Being able to open and edit these nests directly in the main timeline would save time, reduce context switching, and make the editing experience more fluid — especially when working on complex sequences with multiple layers.Additionally, staying in the main timeline allows me to hear the full audio context of the edit, n

Bonjour,sur Premiere, il manque une feature dispo sur tous les autres logiciels de montage pro linéaire."Batch rename clips" sur Davinci ou encore le "Bulk Edit" sur Avid qui consiste simplement à pouvoir renommer, uniquement sur Premiere, les fichiers à partir de métadonnées que nous avons remplis.Ex : N° de scene et prises De plus lorsque nous faisons un multicam, ces infos disparaissent.C'est reellement chronophage pour une action que nous avons deja faite.Merci ! 

Product: Adobe Premiere ProCategory: Titles / Graphics / Timeline WorkflowDescription:In the current titling workflow in Premiere Pro (2025), titles created via the Properties panel can contain multiple layers (text, shapes, images). However, when placed in the timeline, the title appears as a single clip, and there is no way to visually manage the timing of individual layers directly within the timeline.How this would help my workflow:Being able to double-click a title clip in the timeline to expand it inline, revealing all its individual layers as separate tracks (similar to a nested sequence or multicam clip), would allow for precise control over layer timing, appearances, and transitions.This would be especially useful for:Animating the opacity or position of each layer with keyframes.Staggering the appearance of text elements or shapes.Syncing title elements with audio or visual cues in the main timeline.Currently, working in the E

I wish that nested sequences could be designated to automatically go into a bin that I set in either preferences or project settings.  There is already a script that does this (Excaliber) so I know it can be done.  Would be so much better for keeping project panel neat and tidy. Thanks!

Please, please, please, please, please for the love of god change this. There is absolutely no earthly reason why the final click on the original vertex to complete a mask should convert that vertex from linear/corner to bezier handles. Please. I'm begging you, Adobe. Please change this. I literally can't take it any more. Never, ever, ever have I wanted that one last vertex to be bezier, when all other vertices along the way have defaulted to linear. Why on earth would that click have different behavior. And every single time, if I want to switch it from bezier to linear/corner, I am forced to ZOOM IN (WHY??????) to be able to make the option-click shortcut work, swapping from bezier to linear. If I fail to zoom in, my optoin-click will leave the bezier handles active but reset them to be directly on top of the vertex, another function that I cannot imagine anyone ever using or wanting. Just make it convert from linear to bezier and back, every time, no matter what, and if I want thos

I would love to see an option in Premiere Pro to disable automatic keyframe creation when changing effect parameters in the Effect Controls panel during playback or timeline scrubbing (Audio Effects). Currently, Premiere automatically enables animation and sets keyframes without the user explicitly clicking the stopwatch.This can cause confusion or unwanted keyframes, especially in fast-paced workflows.Please consider adding a global preference like:"Only enable keyframe animation manually"This would give users full control and prevent unintended automation.

I have been attempting to use this effect to display Metadata burnt into the video; Specificaly, I had the EXIF tool wrote Metadata into the source Media for location and recorded/created date.   I think there is a bug in the effect;  many fields, will not display in the program monitor, despite there being clear data one can view, and even edit in the project window;   This is the effect setting: (Description will appear Line 1, But Line 2 data will not)   The Project window you can clearly see that there is Data in the Tape Name Field:   The program monitor will properly display Line 1, Description.  But many other fields despite being visable in the project metadata viewer will not display/burn in on the program monitor.   Can someone please advise if I am doign this wrong,  or if this is a bug thats repeatable for others?   Adobe Premier 25.3 Windows 11 Pro For Workstations 24H2 Nvidia 3090 Studio Drivers   Source Material is Iph

Hello!PREMIERE RPO - GENERATIVE OBJECT REMOVALknow if this is still years away or is "coming soon" as Adobe touted last year. Gen AI extend is handy in my timeline, but gen AI obect removal like the funtionality Photoshop would be a game changer.

Hello Adobe Team,I would like to suggest adding a dedicated option in Premiere Pro’s export settings to control the Color Range (Full 0–255 vs Limited 16–235) for video exports, especially for H.264 and H.265 codecs.Currently, there is no direct way to choose or force full range color levels during export, which often results in washed-out or desaturated colors on platforms like Instagram and sometimes YouTube. This leads to extra steps and workflows involving external tools to convert color levels after export, complicating the process.Having this option built directly into Premiere Pro would greatly improve color accuracy and streamline the export workflow for professional users working with social media and online video platforms.Thank you for considering this feature!Best regards,[Marina]

In the Effect Controls panel the keyframe navigation buttons still overlap with the value fields (like Position, Scale, etc.), making the buttons nearly unclickable without resizing the panel. Despite it appearing to be a relatively easy issue to fix, it has persisted through at least a decade of Premiere updates and there are no signs of it changing anytime soon. However, with the increased focus on UI in recent updates, I'm hoping this is a good time to shed some light on the issue.  (appologies for the flickering in the gifs below) This is what I'm referring to: The image below is the minimum possible width the panel must be in order to click all three keyframe buttons: In order to view more of the timeline portion of the panel while still being able to click the keyframe buttons, the Effect Controls panel as a whole ends up taking quite a lot of realestate:  This is obviously not a critical issue and there are many ways to work around it or avoid

In many programs, shift + scrolling is often used to scroll horizontally - I think it would be incredibly useful to allow this functionality within the `Project` window so that it is easier to scroll across metadata.Unless I'm missing something, currently the only ways to scroll horizontally are to either grab the tiny scroll bar or to move the mouse to a very tiny portion at the bottom of the project window before scrolling. This can be a little cumbersome when I need to go back and forth constantly and I don't want to have to pop out my window just to quickly get some information or check some metadata. Honestly as an extension to this it would be great to see this functionality in other windows as well like the Effect Controls panel to scroll across and access keyframes easier. Currently manuvering around scroll sections in premiere feels a little archaic Would be a really nice QoL improvement!Apologies if this is a repost, I tried searching for similar posts and came up w

Adobe, you've known about this for years... Loudness Radar in the Audio Track Mixer under the "Special" category dropdown list is still missing on silicon chip Macs (M1 here) -- only Loudness Meter is available. Now, the workaround that we've been using is no longer an option either in Premiere 2024, which was to launch Premiere using Rosetta. (Right click Premiere Pro, Get Info, Open using Rosetta.) So I have no good way to monitor LUFs in-app at the moment. Please make this a priority in an upcoming patch or fix for Premiere 2025. Thank you.

Lumetri's color wheels need tonal range definition sliders like It existed in the old three way color corrector and how It exist in every serious color trading software.It Is needed ti fully control what Is influenced by every single wheel.   

Lumetri has only three wheels. Everybody knows there should be a fourth one (like in Resolve and like the chained three wheel in the old three way color corretor).One for shadows, one for midtones, one for highlights and a fourth one for global adjustment.