Feature Requests

If I apply a track matte filter to a clip in premiere, the parameters make me choose what layer to apply the effect to (via a drop down that selects the layer). if that particular file moves to a new layer on the timeline, the track matte connection between the file is now essentially 'broken' or unlinked, and the image goes white and you have to go back to the parameters and tell it the new layer to look at (i.e. clip is now on track v6 instead of v4 for instance). and this can be a real pain in the butt when moving files around on your timeline.  But in Adobe After Effects, if you take a file and parent it to a certain layer or assign it a track matte, you can you move that layer anywhere and the track matte stays in tact and isnt unlinked. Premiere shoud adopt this same technology.

I very often modify clips later that have had Warp Stabilizer applied to them (especially when adding transitions to a sequence last). I then have to go back through very long sequences, perform an effects search, and manually click Analyze. It would be great if there was an "analyze all" button to analyze all effects in a sequence including Morph Cut. Thank you!

Need to add the ability to "fill with gradient" to the entire text (not to each individual letter).And also the ability to save the color and gradient for reuse in a project (or save to a library).

currently when creating a new sequence if you load a source into the source monitor, the available audio and video tracks are not displayed. So if you cut the clip into the timeline, currently you have to go back and delete the audio or video channels you don't want. Kind of ridiculous. Would make more sense if the tracks were visible in the timeline window so you can select them before doing the first edit... as they are after the first edit so you can select which tracks you want or don't want. See Avid Media Composer as example.

When copying attributes for motion, please can we have a drop down option, so we can only paste motion or scale independently of each other? I spend way too much time re-jigging one aspect of an asset's scale on a clip by clip basis. Many thanks!

I’d love ability to toggle playback with a Pre-Roll. Right now, we’ve got the "Play Around" (Shift+K) function, which is great, but it stops playback two seconds after the toggle point. There’s a workaround where you crank up the Post-Roll amount in preferences, but that creates another issue: when you stop playback, the playhead snaps back to the original play point. This jumping around makes it really impractical as a solution. What I’m suggesting is essentially adding a shortcut which is a tweaked version of the "Play Around" feature:Turn off Post-Roll, so playback doesn’t stop after a set time.Stop the playhead from snapping back to the starting point when playback ends. This would make reviewing edit points so much more efficient because you wouldn't need to shuttle backwards to review. Would be amazing if this could be added!

It is a frustrating addition that has made fiddling with overlays and graphics a pain. Premiere has 1 million buttons already, we don't need more buttons and toggles for things that already work perfectly, they aren't helpful, they are speedbumps. I could not find a way to turn this 'feature' off, which is also frustrating - at least let me decide if I want to add new detritus to my windows, don't force it on me.

HIwhen I'm look at the my timeline and the sequence bar above it, they are in the same color. Sometimes I want to click the timeline, but accidentally I click on a sequence instead. Is there a way to change the color of the sequence bar?Thanks,Gideon

I might be unique ... but always when I go to Trim mode (Shift-T) to get the view of both sides of a cut, it's jarring when I try dynamic playback and you go back to only one clip showing at a time. I would love to have a Trim mode option where you could do the 'dynamic' playback, but see both sides of the cut point. I think it would be more clear to me just where I want to cut. I realize you can scrub with the mouse and sort of kind of do this, but it's not nearly the same as watching it. @Jarle Leirpoll @Warren Heaton10841144 @Averdahl @Michael Grenadier @Ann Bens @Kevin-Monahan am I nuts or something?

(Apologies if my terminoligy isn't 100% correct, I'm a self taught editor) I don't want to come off like I just can't adapt to the new feature, but, it would be nice to be able to have the option to revert back to the version 24.3 way of scrolling/scrubbing through video on the source/program screen. Or at the very least, lock the zoom level. As it is now, when you're hovering over the video, the scroll wheel zooms the image in or out instead of scrolling through the video. I understand how this is benificial for other users but personally I have never needed this, and have seen a number of others upset about it as well. I'm making this post after reading and finding out that there doesn't seem to be a solution for my "problem" other than to "hover over ONLY the timeline". My laptop screen is small and aiming my cursor that precise (at the speed of my usual editing effeciency) without landing on the grey bar to zoom the timeline itself, or flicking my mouse too hard and accid

Hi Adobe, I am here to get a little on your case about a big change you made in Adobe Premiere Pro 2025.  You made the Essential Graphics panel go away, in favor of grouping everything in a more context-aware Properties panel. However, I want to say, I don't think that move was very well thought-out by your UI/UX team.  It was a bad move and has resulted in a lot of confusion among your user base.  And myself included. I like where you guys were going with it, but if something has been a certain way in your software for a long time, you need to take a page from the old saying, "If it ain't broke, don't fix it."  People rely on software generally looking and feeling the same way throughout its product maintenance lifecycle.  If it changes too drastically, it results in too big of a paradigm shift among your user base.I strongly urge Adobe to carefully consider putting the Essential Graphics panel the way it was -- don't mess with so

For some reason, the old track heights seemed to work 99% of the time. I've rarely needed to adjust track heights until now. Track height presets don't fix the problem and seem to be for a different purpose.  REQUEST: Zoom all video + audio tracks to fit timeline window'Zoom tracks to fit' = Fits the height and width of all tracks to the timeline window'Zoom track heights to fit' = Fits the height of all tracks to the timeline window'Zoom timeline width to fit' = Fits the width of all timeline tracks to the timeline window'Zoom video track heights to fit' = Fits the height of video tracks to the timeline window, leaving audio tracks as they are'Zoom audio track heights to fit' = Fits the height of audio tracks to the timeline window, leaving video tracks as they are I currently use the \ key to fit timeline width but it needs to be consistent with the other proposed fit commands, so they're grouped and easily found. Related to this ongoing issue (it's

Premiere Proのversion updateで整列と変形が下に移動して非常に不便！！！！please move it up on the property panel..

Please change render order of Intrinsic Crop. It should operate the same as putting the "Crop" effect on as the first effect on a clip. Here is what the render order should be.Intrinsic Crop > Other Effects > Motion  Why?Crop is normally the first effect applied. Other graphic adjustments are then made: transforms, blurs, glows, shadows, rounded corners, etc. Anytime I want to add other effects, Intrinsic Crop becomes useless (Nesting the clip as a workaround sucks). As it stands, 90% of the time I start with Intrinsic Crop and then have to switch to the Crop effect and redo the crop. Main ExampleCrop > Transform is one of the most common effect stacks.Transform effect allows Motion Blur (Motion > Position does not)Try using Intrinsic Crop and then using a Transform effect. Currently, the entire effect stack renders and then the Intrinsic Crop is applied.In other words, the image moves INSIDE the crop. This same argument applies for Drop S

Please add keyboard modifiers for Intrinsic Crop in the Program Monitor via direct manipulation. These should work even if user is in the "Transform" mode. Mac:Hold ⌘ or ⌥ and click and drag an edge to freely crop the selected clipAdd Shift to constrain proportions Win:Hold Ctrl or Alt and click and drag an edge to freely crop the selected clipAdd Shift to constrain proportions

The new update removed support for the "loupedeck control surface", could you please add it back?

I use an external cache drive on my MacBook, but somettimes I start up Premiere without it plugged in. This resets Premiere's cache path to the defaultI would be nice to get a dialogue asking if you want to quit instead, before it resets it

Is it possible to measure the overall time spent working on a Premier Pro project? Is there a log or setting that allows me to see this data? It would be really useful, especially for long and complex edits, divided into different periods of time, to be able to know the actual hours spent on the project.Thank You allAndrea

For those like me who don't use the Magic Mouse or Logitech MX Master... I believe it would be a great idea to implement Timeline navigation with the mouse's Scroll Button. This function is already present in Audition, for example, and saves a lot of time when scrolling the Timeline.

Greetings! Even though 32-bit float (and the potential peaking that can be SAVED from this wonderful godsend of an upgrade) is supported in Premiere, the waveform image in sequences [seems to be] rendered at 24-bit and confuses users/editors.  So if it's peaking and I want to reign it in, I can't see past the peaked flat area - or mesa.  It just brings the mesa down.  I really wish the waveform generated from a 32-bit float was procedurally updated/accurate as the gain/volume is adjusted, pretty much like it is handled in any other video/audio editing software, including Audition! Audio-wise, peaked files can be normalized/volume lowered/recovered (and sounds GOOD!), but it makes volume level keyframing very hard to manipulate, not unlike controlling volume blindly.   Are we using this wrong or is it just a simple oversight? *Note: A not-so-user-friendly work around is to Render and Replace/Send to Audition for the waveforms to look cor

Requesting a native way to edit 32 bit float files in adobe premiere, other softwares have that abillity; DaVinci resolve, Audition and so

The change in "Clip Appearance" in version 25.1 makes it hard to see the borders. This should be fixed. In particular, when the track is narrowed, the borders become even harder to see.This is very inconvenient when editing on a small screen, such as a notebook.   ver25.1で変更された「クリップの見た目」が、境目を見にくくしている。修正すべきだ。 特に、トラックを狭くして表示した時、境目がより見にくくなる。 ノートブックなど、狭い画面で編集する時、とても不便である。  

Do you agree of having windows/tabs within premiere pro that can be locked from being shifted accidentally while editing.. I believe the sequence timeline is a good example. Sometimes when I have multiple sequences open I accidentally undock or shift around a sequence messing up my layout.

Rounded corners are making a style comeback. And they are used all the time for retro styles. But I need to put something in a rounded box, there is no way to do it. I've watched every video on youtube claiming to have a solution, using roughen edges, etc. Even the strange shap layers in premiere don't have rounded corners.  Illustrator has it. After Effects has it. Why doesn't premiere? Because they want me to interrupt my workflow and jump into After Effects when I'm still editing and figuring out timings? No I can't use a track matte, because I have to move things around via a nest etc. Rounded cornes via the crop tool. That's it. We can make this happen. 

We would be happy to improve the synchronization of many short video files with one audio file in a simpler way, similar to the synchronization of one file by right-clicking and then syncing -so that it would be possible to click on all the files together and it would split itself into layers and what is needed and do the synchronization itself in the best way.