Feature Requests

When you add an adjustment layer containing LUTs above clips stabilized with warp stabilizer, those clips need to be analyzedAdobe Premiere Pro does not flag this clips, and you may have problems with the export.

Since merge clips aren't currently advised, I am begging for the same kind of functionality that Avid has to "Autosync "multiple camera clips to a single audio track. This is crucial for documentary/reality shoots where audio rolls for a very long time, and cameras start and stop. What this functionally does is:Match multiple camera clips to an audio track and creates a new multicam clip for each instance.Example: Let's say you have camera clips A001, A002, A003, A004, and they all sync to different points with Audio Clip 1.  Right now, this syncs all the clips into *one* multiclip in ascending track order. This suggested "autosync" functionality would instead create a seperate multicam/group clip for each new camera clip that matches the the audio track. It would also automaticlaly truncate those clips to whatever is shortest (the vast majority of the time this is the video clip). Also very much need a way to be able to assign camera labels to Proxy Media when it is not

Hello, I have been having some problems displaying my LUTs.  I have them added to the correct folder but the dropdown menu only shows a limited number.  I have reinstalled the program, removed and reinstalled the luts, cleared the cache, everything, and i still can not get the full list of luts in my dropdown menu.  What is strange is that at the end of the drop down list, i can select the last one and use the arrows in the preview box to see othr luts, but i cant access them via the drop down.  This is quite frustrating as it is a relatively recent problem and it makes my editing difficult as i work with numerous underwater luts, and due to the nature of the alphabetical listing of luts, it takes me ages to get to the lut (via clicking the arrow for several minutes) i am interested in looking to use.  I have seen other people report this issue and i cant seem to find a solution.  Please help.   OS X Sonoma 14.5 Premiere pro version 24.5   M

When you open a file in the source panel, Premiere displays "Source:" + the full filename in the tab. When you have files with long names, it crowds the other tabs out and you have to click the >> button to get the option to select other windows, like Effect Controls. Its particulary a pain when working on a single laptop monitor with limited space. An option/feature to limit the space the source panel tab can take up would be amazing. Thanks!

Man, If y'all could do that, it would be a boon to documentarians and corporate video producers.  Sometimes you just need a little chuckle at the end of an interviewee's sentence to really make an idea land --being able to find those moments with ease so one could cut in a little somethin'-somethin' would be great. THANKS!  

Hello!I'm a huge fan of Adobe Premiere and I've grown very accustomed to the software over the years, however I would love for more codecs to be supported from within Premiere Pro itself. Specifically, I would love for more high quality audio formats to be supported like OGG, FLAC and OPUS. Specifically OPUS since it's open source, has a relatively small file size and offers great improvements in audio quality over something like MP3. If any of these codecs are added I will be very grateful. Thanks and keep up the great work! Cheers,Henrik

When using a project manager, all files are placed in one folder.   When using a project manager, all newly generated files are placed in one folder. File management becomes complicated and very inefficient. Please generate the file while keeping the original folder structure!   プロジェクトマネージャーを使うと１つのフォルダにすべてのファイルが入れられてしまう   プロジェクトマネージャーを使用すると、新たに生成されたファイルは、すべて１つのフォルダに入れられてしまいます。 ファイル管理が煩雑になり、とても非効率的です。 元々のフォルダ構成を保ったまま、ファイルを生成してください！

I would like to see a Solo button that solo's video tracks added to the custimizeable video tracks bar. I am aware that if you shift click the eyeball icon, it turns off all the layers and you can turn on the layer you want to solo, however if you have some layers purposely turned off, like timecode or captions or supers that are just there for internal purposes, you have to remember which ones to go back and turn off again. And you have to do this every time you want to solo a layer. Which leaves a lot of room for error when you export and maybe forgot that a layer was supposed to be off. And it's also an unnecessary added set of steps or a common "workaround" editors are used to, where a Solo button would just make it easier. Why does audio tracks have a solo button but video tracks don't?After effects has a solo button, which is pretty integral to the way of working in after effects because it exists. Having a solo button would be really useful. A lot of times we

WHY WHY WHY did you change this? Please tell me there's a way to adjust my preferences to get the way it used to be back. Here's the problem: with a recent update you changed the look of selected clips on the timeline. This is hard to describe, so please pay attention. It used to be for years that if you clicked a clip on the timeline to select it--you could EASILY SEE it was selected because the WHOLE CLIP GOT VISIBLY LIGHTER. Didn't matter what color it was labeled, that color (forest; cerulean; rose) got whiter so you KNEW WHICH CLIP WAS SELECTED--then you could perform whatever effect you wanted to apply to that clip and quickly understand which clip it was happening to. Right now, the only way I can tell a clip is selected is two white lines on the side of that clip--and I can BARELY SEE THIS--and I'm using a large monitor at home. OMG! I have been teaching nonlinear editing at the university level for over 20 years using multiple different NLEs, and this is quite frankly the wors

The transitions on the timeline have a whole new way of being controlled and moved. I used to be able to easily see them due to better color identification against the timeline but the BIGGEST issue is movement. I frequently slide them over and resize them, and with this new update it is ridiculously difficult to click on them to slide them over, so difficult in fact, that I can't believe this change was even approved!#2 With the new color scheme, the transition effects no longer easily stand out visually from the other colors, and are much harder to see. Why?!

Sometimes Audio/video is improperly linked (in particular when moving from cloud drives with similarly named files). Thus the Enhanced Speech may enhance on the wrong audio-wave form. There is absolutely no way to clear the incorrectly linked enhanced audio.Instead, I'm required to render the un-enhanced audio, and enhance it manually.A "clear previous enhanced speech" function would be ideal.

Users may want to always export to the same folder as their project, or their media, or any other standard location. We can set default folders for import/ingest, captured video and audio, etc, why not default export folders?!?

Hey there!    I'm working on a large television show, with several dozen thousand files - so when things go offline, it's a huge pain. I recently tried to migrate to the new update of Premiere Pro, which is natively compatible on M1 Macs (which I've been working on the entire time, using the Intel version of the software). I checked with my co-worker before migrating, and they said that the new software version is working great. They are working on a Mac Pro with Intel based chips.    However, whenever I open the M1 version of Premiere, it gives me an error message that the "files use unsupported file type CFHD". After some cyber sleuthing, I figured out that the error message was indicating that the GoPro Cineform codec (which all 28,000 files have been transcoded into for proxies) doesn't work with the software. The crazy thing is, they were natively generated from Premiere, and work completely fine in the Intel version of the software (which I can launch thr

In a broadcast environments we often need to set up the scratch disk locations manually. For various reasons. Most times they all need to go to a folder near the project file, but not directly next to it. It would be great if there was a button that applied one location to all. And then you could just change the one or two who need to go elsewhere. (Most times the Previews as they don't need to be backup'd)Request: Please add a button to apply one location to all scratch disk locations in one go.

Please return audio and video transition icons back to the pre version 24.0 style.They're much more difficult to grab hold of now that they're semi transparent. You're constantly grabbing the opacity slider instead. When they used to be solid you could just grab them and slide them/resize them instantly. It's now much, much more fiddly. The new permanent fade in/out buttons on each end of the clip would ideally also be an option you could disable or enable as they're equally as annoying!

Currently there isn't any way to adjust Submix track volume keyframes with the keyboard. As it a Submix track  isn’t a clip, all the usual ones don’t work… 😞 The workflow now is lasso select the keyframes to adjust with the pen tool. And then manually drag them up/down. This is slow and painful for editors in the broadcast space, as submixes are used to deliver both English and international mixes in one sequence.   Request: Please make Submix volume keyframes accessible via keyboard shortcuts.  

A ideia é permitir a aplicação de parâmetros pré-definidos a camadas de vídeo, como posição e zoom. Isso é especialmente útil ao trabalhar com vídeos que possuem jump cuts em uma câmera estática. Por exemplo, seria possível definir previamente a posição e o zoom desejados para o vídeo, e aplicar esses ajustes rapidamente às camadas. Dessa forma, bastaria mover o corte do vídeo para a camada que já tem o parâmetro desejado, tornando a edição de jump cuts muito mais eficiente.

Speeding up video editing in Adobe Premiere Pro can greatly enhance your workflow and productivity. Here are some practical tips to help you edit faster and more efficiently:1. Optimize Your Computer's PerformanceUse a Powerful PC: Ensure you have a computer with a strong CPU, plenty of RAM, and a dedicated GPU. This will help Adobe Premiere Pro run more smoothly.Increase RAM Allocation: Allocate more RAM to Premiere Pro by adjusting settings in Preferences > Memory.Use SSDs: Store your media and projects on SSDs rather than traditional hard drives for faster access speeds.2. Organize Your MediaCreate a Project Structure: Organize your media files into bins and folders within Premiere Pro. This helps you quickly locate and manage your clips.Use Ingest Presets: Set up ingest presets to automatically organize and convert your footage into a usable format upon import.3. Use Proxies for High-Resolution FootageGenerate Proxies: If you’re working with high-resolution footage (e.g., 4K), c

With 24.5.0 I can no longer see both waveforms AND audio file names if the audio track is collapsed all the way down. Is there a work around I am unaware about? Working with so many audio tracks means I usually collapse them to save space, but now I can no longer make accurate edits with this update.

For a couple of years now MacOs requires you to authorize acces per app to the microphone. PPro nicely puts up a request for this during it's first start. But I've quite often run in the issue where someone ignored/denied access to it and then completely forgot about it. And then when they try to record a VO for the first time they get no signal even though everything looks good. To stop them/support wasting time looking everywhere it would be great if that once someone attempts to record audio without having the system authorization that Premiere would again show the request acces dialogue (connect it to the record button). This would save our users and support a lot of frustration (it's not something top of mind when trying to find out why recording won't work).  

I have an important request. Please read.I was thinking about looking at Adobe Premiere Pro, and at first I was interested in trying it, but then, what I heard about Generative Credits is straightup idiotic, according to Meta AI; "With Adobe Premiere Pro, once you've used up your allocated generative credits, you can't generate AI effects, even with slower processing or ads. When you exhaust your credits, AI-powered features will be disabled until you: 1. Purchase additional credits 2. Upgrade to a higher plan with more credits 3. Wait for your next credit allocation (if included in your plan)"Especially how I purchasing the app and contionously purchasing credits or waiting a month to generate AI when you run out and have no way to purchase unlimited credits or keep it running after paying once.Could you please make a plan so I don't have to keep spending to use something?I would gladly try to purchase a version that lets me use most or all features without having to keep paying

¿Cómo puedo destacar los clips utilizados marcando cada miniatura con un color, tilde o atenuando aquellos que ya fueron volcados a la línea de montaje, para así diferenciarlos de los aún no utilizados?Propongo alguna función para que con el botón derecho del mouse, por ejemplo, podamos marcar los clips que vemos en el Navegador de Medios y de esta manera ocultarlos del resto o diferenciarlos visualmente.How can I highlight the clips used by marking each thumbnail with a color, accent or fading those that have already been uploaded to the assembly line, in order to differentiate them from those not yet used?I propose a function so that with the right mouse button, for example, we can mark the clips that we see in the Media Browser and in this way hide them from the rest or differentiate them visually.

I have a feeling that in one version of Premiere Pro, this issue was resolved. Unfortunately, I'm 100% certain that adding a 'Shutter Angle' of any value on a 'Transform Effect' shifts the clip position relative to the anchor point position.In both cases, the visual representation of an 'Anchor point', which appears after clicking on the 'Anchor Point' option in the Effect Controls panel, stays in the center (both horizontal and vertical) of the timeline/composition window. However, when you apply any value to the 'Shutter angle' the clip shifts outside its anchor point center.  This issue only occurs when there's a mismatch between timeline resolution and clip resolution, eg. when you're working on a 2160x3840 (9:16) timeline with a 3840x2160 (16:9) clip or on a 1920x1080 (16:9) timeline with 3840x2160 (16:9) clip.  The 'Scale motion effects proportionally' option does not make any difference in this case.   The 'Use Comopositions's Shutter Angle' op

It would be amazing to have the FX badges active but have the option to add a modifier to open the Effect Control window. I find that I click it by mistake all the time, especially on longer timelines with numerous clips. It's nearly impossible to miss it even when trying. On the other hand, I love the ability to open the Effect Window this way. Anytime we can eliminate clicks on routine tasks I am 100% on board. Up until now, I would double-click the clip in the timeline which loads it in the source window but with the video showing. You then need to click over to the Effect Controls. Sometimes you just want to see the settings....

With the 24.4 update  the fx badges permanently show on every clip. When moving clips around the timeline I often accidentally click the fx badge on the top right which then opens the effects controls for that clip. I'd love to be able to turn the fx badge off like we used to be able to as this is a real pain when moving clips around the timeline.