Feature Requests

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. 

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

Presently you can select a single graphic asset with multiple text layers in it and align, or move them all together. However, if you have multiple graphic assets (text) on the timeline, when you select all of them together you are unable to control them at once. What should happen is when you select multiple graphic assets (text) on the timeline, the Properties panel should fill up with all of the associated elements so that, in the Properties panel, then can be selected together and things like Align or Position would be taken into account. This currently works with the Appearance tab, but none of the other tabs. I know that this is more of a Premiere issue overall in which multiple video assets cannot be manipulated together, but the graphics assets already populate in the Properties panel, why can't they all be shown together? Thinking about this a la After Effects where multiple text layers can be selected together and manipulated as one. This is important for

Like AE and Photoshop where you can move tracks/layers up and down, I'm requesting that same ability be added to Premiere. Anyone who's used AE and Photoshop (which you most likely have if you use Premiere long enough) knows how useful it is to be able to quickly move entire layers with a simple mouse drag and it'd be great if that feature could be added to Premiere. Before posting I looked it up first to see if anyone requested this already and found a locked thread talking about this made back in 2009. So hopefully this post gives the request a second chance at life for new eyes to look into it.

ScreenFlow has a brilliantly simple animation system that would be a huge workflow improvement if adopted in Premiere Pro. Here’s how it works in ScreenFlow:Add a “Video Action” (like a transition in Premiere) to a clip.On one side of that action, the clip has its original properties (position, scale, rotation, etc.). On the other side, you adjust those properties to their new values.The software automatically interpolates between the two states over the action’s duration, with smooth easing built in.You can drag the ends of the action bar to make the animation faster or slower, reposition it on the clip, and choose between a set of custom ease-in and ease-out values for the interpolation. No keyframes. No graph editor. Just drop in an action, adjust the transform properties, and ScreenFlow handles the animation. See it in action here. Why this would be a game-changer for Premiere Pro:Fast + intuitive: Premiere isn't set up for easy graph editor work. It would be gr

We already have a tool for searching for frames by description, but...It seems that we still lack a tool that would work like a "visual PluralEyes" and automatically synchronize video clips on a timeline based solely on the analysis of matching video content (movement, frame composition, etc.), just as easily as it is done with audio, but with video only. For example, there is a movie with low-quality fragments, and other materials are provided that contain similar fragments but in higher quality. You need to find and match the low-quality fragments on the timeline with the higher-quality fragments from the other provided movies. This is necessary when high-quality clips are received during the final stage of editing or during the restoration process. 

In Photoshop, you have the ability to adjust the brightness of the transparency grid, from the default light mode to something much darker.I would like the ability to do the same in Premiere's program monitor.  

See this post for a no longer available UserVoice request. Can staff recover it? I do not find it or a similar one in a search. Is there already a request for what I am asking? https://community.adobe.com/t5/premiere-pro-discussions/transcription-fixing-automated-errors/m-p/12367619#M366421   When a caption is split in the Timeline, the timecodes are split by the playhead position in the timeline. This is correct and is the current behavior in 23.6 and Beta 24.1.0.21.   But the entire caption text is repeated in each of the new segments. There was much discussion about this in the Beta forum during development, and there are continuing requests for a different behavior. I don't think any users are advocating for the current behavior.   I recommend that the text be split so the beginning text through any word completed before the playhead position goes to the new, earlier caption segment and the rest of the text goes to the new later caption segment.   Note that this

Change the "Composite in Linear Color" setting for creating a new sequence to OFF by default.When "Composite in Linear Color" is ON, the cross dissolve etc. does not work properly.So, as the first setting (default), please turn it off.【新規シーケンス作成の「リニアカラーで合成」設定を、デフォルトではOFFにしてほしい】「リニアカラーで合成」がONの状態だとクロスディゾルブなどが綺麗に動作しない。なので、最初の設定（デフォルト）としては、OFFにしておいてほしい。

It would be nice to be able to copy Lumetri Color settings directly from within the Lumetri Color window with a simple Ctrl/Cmd-C, rather than needing to navigate to the Effect Controls window which may not always be visible on a user's screen, or Lumetri Color might by pushed out of view by other effects.  The clickable area for copying a Lumetri effect from anywhere in the Lumetri Color window is 100x+ larger vs the Lumetri Color tab in the Effect Controls window (see illustration)  When a user is editing their Lumetri Color settings, being able to simply hit Ctrl/Cmd-C to immediately copy the effect would be significantly faster than having to mouse over to the effect in the Effect Controls window!  There's really no good reason users shouldn't be able to copy directly from the Lumetri Color window!  While you're at it, please implement the other idea I suggested ages ago of adding a special shortcut to paste-replace an effect, so that if the