Feature Requests

I would like to restore the old style or visual appearance of the Fade In/Out transition in Premiere Pro 2025 and 2026.

自動文字起こし、キャプション作成を一度行うと再度できない。具体的には、インアウトの文字起こしで一部分だけで文字起こし、キャプション作成した。その後別の箇所でも文字起こししようとしたが、どうやらそれはできないらしい。 一度タイムライン全ての文字起こしをしてから消していく方法もあるが、時間がかかるし面倒だ。必要な箇所だけちょくちょく文字起こし、キャプション作成を追加していける編集方法に対応して欲しい。 それとも何か方法はあるのでしょうか。

why in auto caption's language we don't have persian ?

This will help prevent making adjustments to the a previously highlighted clip and speed up workflow.Is it just me because I am transitioning from Avid?  I will adjust the color on a clip for example, then mouse to another clip.  After making an adjustment I realize that I didn't highlight the new clip.  I then undo, and click the new clip for adjustment....big time waster. If there is already a setting for this, please let me know. Thank you.

 Problem StatementCurrently, exporting multiple individually edited clips from a Premiere Pro sequence with all effects and color corrections applied is unnecessarily time-consuming and inefficient. Users who need to export dozens of edited clips must either:Manually set In/Out points for each clip and export one by oneUse Project Manager (which only exports unedited source files)Manually nest each clip individually and export separatelyRely on third-party scripts or workaroundsThis workflow is particularly problematic for:Content creators managing social media clipsEditors delivering multiple revised assets to clientsPost-production teams working with multi-clip projectsAnyone who needs to deliver individual edited clips rather than a full sequenceProposed SolutionFeature: "Batch Export Individual Clips"Add a native function that allows users to export all clips on a timeline as separate files with all edits, effects, and color corrections preserved.Implementation SuggestionsOpti

Hello,I'm experiencing an issue with the Auto-Match feature in the Essential Sound Panel. When I extend or reduce an audio clip, the Auto-Match setting becomes unselected. This creates a tedious workflow where I have to revisit multiple clips to ensure consistent loudness, even after applying the necessary attributes.I would like to request one of the following solutions:An option to keep Auto-Match running automatically once it has been selectedA keyboard shortcut to quickly reapply Auto-Match and streamline the processThank you for your consideration 

It is so bad that your lovely software dont give you the best quality and it will be more difficult for you when you are a creator or gamer which you should upload your videos. i recognized that primier pro export engine is not that much good (my eyes are so sensitive ) When I watched my video, I noticed that there were tiny square pixels dancing around, mostly in the corners of the image in the dark parts of the video, like the night and the blue sky, which I think is due to the color weakness of Premiere, which gives a messy image. However, under the same conditions, the same video was output with the same bitrate with a graphite card with VBR 1 pass, and what was more interesting was that no square pixels were visible and a completely clean image was displayed, even in motion. I want Adobe to design a new output engine that gives better quality than DaVinci and at the same time is fully compatible with all types of systems. I used various Premiere plugins, including After Codec

Idea:When subtitles are auto-generated, they should automatically align with the video’s cuts.Why:This keeps subtitles in sync with the rhythm of the edit, makes them easier to read, and saves time adjusting timing manually.Image Example:This timeline shows newly generated subtitles (in orange) placed above video clips (in blue). Currently, the subtitle segments don’t match the video cuts — they continue across edit points.It would be very useful if generated subtitles automatically aligned with the video cuts, so each subtitle starts and ends within a single shot. This would save time for making the final edit look cleaner and more professional.

Is there a way to create embedded captions in premiere pro/ME for h264 or Mpeg Files? I can create them in quicktime but the files are much too large for our workflow and end product. 

as an editor . i always prefer to edit my videos on primier . this days i wont beacause of bad export quality engine in low bitrates . when i use vbr 1 pass i can see my videos pixels moving (some little  squares) its making the video quality worst  . vbr 2 pass is 10 times worst than vbr 1 pass . i should say that i export the same video and the same settings and the same bitrate in davinchi . and what happend . i didnt see any pixels or quality loss . so i want to tell adobe company (fix primier pro export engine and export quality ) it sould give the editors and creators the best quality export better than davinchi 

As an Assistant Editor, I'm frequently needing to select/de-select specific tracks. Ex. I want to jump to the next event on V3 and Mark Clip. I can do this using the mouse, but it'd be so much easier if I could map keyboard shortcuts for each track (ex. V1 = 8, V2 = 7, V3 = Shift-8, A1 = 9, etc.). 

Hello!I work as a video editor at a post production house that specializes in reality TV. We parse through hours and hours of content to find the right moments and craft stories in the edit. We sort our footage on timelines and markers play a huge role in our organization.   One feature that would dramatically help our pipeline within premiere pro would be a marker that dynamically changes the in and out point based on the footage below it. If this can already be achieved, please advise.  I think this can be accieved by nesting clips and placing a marker within the nest. This method is clunky and would not give an accurate duration of the segment. However, having a marker that holds it's original in and out points no matter what is deleted from the sequence would be a life saver.  Imagine cutting a multicam interview that needs to be an exact duration for promotional purposes.First, place a marker, drag the in and out of the marker between the start a

There should be a feature to locally lock a clip in place in the timeline so that it does not move while you place other clips around them. This feature would be really useful because you don't have to worry about putting them on another layer and mess up the syncing of other clips placed on that layer. By placing locked clips in the timeline you can confidently say I know I want this here let me use tools such as ripple delete, lift, and ripple paste knowing it won't affect the locked clips. This is a much quicker way of organizing the timeline.

The Metadata Display customization could be a little more helpful, mainly having a way for saved settings to remember the order we have placed the metadata columns in. I find that each new project I start (while I can bring up the particular fields I want again), I have to re-order them in my project window each time. Adding order to a saved setting would remove a lot of headache.

I work mostly in documentary editing (but this apply to any format), where media organization often relies on thematic sequences and/or selects sequences (by subject, character, scene, etc.). This is a well-rounded and common system. Then, once the edit is more advanced and/or notes are coming in, I frequently need to revisit source "selects" sequences. This is where I encounter frustration : reopening these sequences is more cumbersome than it has to be. For instance - a shot needs to be replaced and I want to look at my selects around the same scene. I have two options :Less thinking, maybe quicker, but creates a messMatch Frame → Reveal in Project → Full screen the project window → Check video usage → Open my "Select sequence" → Reverse Match Frame.Downside: This opens bins and often long list of media in the Project panel, disrupting my workspace organization. More thinking, flow breaker, but way cleanerMatch Frame → Manually track down the "selects" sequence in the

It would be helpful if the Default Media Scaling setting within the Media preferences only affected footage and images. Currently when this is set to scale or fit it also affects MOGRTs. This forces the user to go into the preferences and disable the setting before applying MOGRT files to their sequence.Typically when I build out templates for multiple use-cases and aspect ratios I build a single MOGRT that extends past the bounds of the sequence, allowing the user to select which aspect ratio or dimensions theyr'e working with. In my experience, the transform properties of MOGRTs shouldn't need to be adjusted. 

Please improve the subtitles tool! It is great but it has a lot to improve.I use it every day, and it’s really tedious to constantly rearrange the words in each sentence because, by default, it formats subtitles in a very awkward way.For example:“Hi I’m John”“Patrick and I”“like editing”“videos.”It’s something incredibly easy to fix — the AI could easily figure out the most logical way to break sentences!And if not, at least make it easier to manually move words around, like in CapCut — just pressing Enter should send a word down to the next subtitle line.There are also more: when I want to transcribe, it doesn’t ask which language I want, and by default it does it in English or Spanish — often mixing both. I translate videos that contain several languages, so it’s very tedious that I can’t transcribe in multiple languages at once. I end up having to create many subtitle lines: one for each transcription and then another for each translation.You should also add subtitle animations! Com

The ease of identifying tracks in the timeline is very important. In the current situation, instead of the boundary line, I create a thin track. I also divide the tracks according to the type of telop. I think it would be very manageable if you could color the tracks.   Furthermore, when using many tracks, it is difficult to understand mute and solo with "switch only". I'd like to have a net mark like when the track is locked, or a visual cue for the entire track once it changes color.   タイムラインのトラックに、ラベルカラー機能がほしい（任意のトラックに色をつけたい）   ・タイムラインのトラックの識別のしやすさはとても重要。 ・現状では、わざわざ境界線の代わりに、細いトラックを作成したり、テロップの種類別にトラックを分けたりもする。 ・トラックに色がつけられるとても管理しやすくなると思う。 ・さらに、トラックを多く使用する時、ミュートやソロが「スイッチだけ」では分かりにくくて困る。 ・トラックをロックした時のように網の印をつけたり、色が変わってほしい。 ・トラック全体に対してトラック全体にビジュアル的な目印をつけてほしい。

Multichannel sound is hard to navigate. Fortunately, Sound Mixers label tracks with actor name/microphone information. Unfortunately, Premiere hides this data behind a wall of dropdown menus:Simply, we need this simple metadata in the timeline. This is a basic necessity for professional editing software which I am really hoping Adobe will be able to implement soon! When we finally have these labels in our timeline, it is going to save us so so much time and headache. For a visual reference, DaVinci Resolve does this perfectly: Thank you for your time! 

Hi Everyone,I hope you’re all doing well.|I've been a dedicated user of Premiere Pro for quite some time and love the robust features it offers for video editing. However, I've noticed that other platforms, such as CapCut, Descript, and Opus, provide more advanced options for animated captions and AI-driven features.Given the increasing demand for these functionalities, I find it somewhat inefficient to edit a reel in Premiere Pro and then export it to another program to finalize the captions. Does anyone know if there are plans to integrate more animated caption options and additional AI-driven tools directly within Premiere Pro in the near future?Thank you for your insights!

As a Canadian editor who works with English and French, often in the same project, it would really be useful for me to be able to produce bilingual transcripts. At the moment, when I transcribe a bilingual interview, one of the language comes out as gibberish. I need to do two passes of transcripting, export as CSV and merge in Excel. It's very impractical. Premiere is able to transcribe both languages reasonably well, the next step would be to auto-detect both in the same transcript. Thanks!

AV1 has been becoming a more and more popular codec for not just streamers, but also content creators and filmmakers. Video hosting platforms, such as YouTube, are now implementing AV1 as a way to easily stream video content to audiences at lower bandwidths. Filmmakers, and especially content creators, are asking for AV1 for creating high quality content without too much compromise for file sizes and ease of use when viewing. Having the benefit of AV1 video will help with preserving the best image quality at a much smaller and efficient file size than codecs like H.264. HEVC/H.265 is supported in Premiere Pro and it's a very nice codec. In fact, both HEVC and AV1 perform very similarly. However, it would be wonderful to have the flexibility of additional codecs that are gaining traction in modern media. HEVC isn't supported everywhere, largely due to their licensing slowing down adoption. Meanwhile, AV1 is open source, so it would be easier to adopt without the concern for li

Please make rounded corners an option, or have squared corners where clips are touching the same line. I thought I was going crazy because my clips had tons of 1-2 frame gaps and I kept having to zoom way in to see them. Only to find out it's the new update. Cmon. I've been working in PPro full time for 20+ years. this is silly.

How can I limit Visual Search to my active sequence (or to a specific bin of clips)?  When I type the search phrase in, I see small buttons for "all", "sequence" etc that would seem to serve this purpose, but when I click the "sequence" button I still get results outside of the current sequence that I have active in my timeline window, and when I doubleclick that result it opens the new sequence.  How can I limit the scope of my search results? 

I can't use Hardware Encoding with 'Include HDR10 metadata' option. Couldn't find any solve for this issue and it seems it is about Premiere Pro. Please add this option to be use with Hardware Encoding