Feature Requests

I have a suggestion on the AI Search function in Premiere 2026. Right now the only way to use the Search function as a global search through your media\SFX library (which I do) is to have this whole bunch of materials in a separate project and load this project into the one you wanna have the media in and search through.What if there was a button in the Search menu to store the analyzed media as a local base somewhere on your drives in order to be able at any moment in any project load that database and search through it and add found media into the current project even without loading this whole bunch of files into it?As I see it is, as I mentioned, a menu item to save and load the search results as a database without loading the files into a project, but when you found and chose the needed file from the results, it loads into a separate folder in the Project bin or just in the root (it should be an option too). It's high time to make AI work the way it's supposed to.

This is a feature that is available in DaVinci Resolve colour management for editors working on colour correction for DCI output (DCP creation). 

When I hover of the track name here on the Audio Track Mixer, and maybe other panels that do this, can you please make the tool tip say the full track name and not literally ‘Track Name’ which is silly 

I'm reaching out to the Adobe community to gather support for reinstating the Essential Graphics panel in Adobe Premiere Pro 2025.The removal of this feature has disrupted many users' workflows, including mine. I relied on Text templates for efficient editing, and the new Properties Panel does not offer the same functionality. This change has made managing text updates cumbersome.If you share my concerns, please take a moment to vote for the return of the Essential Graphics panel. Your support can help us advocate for this essential feature that many of us depend on for our projects.Thank you for your understanding and support!

Simple way to batch export all clips on a timeline, option to export blank space also, similar export media window to designate preset for export, etc.

I’ve just had to deal with a project that used very few clips, but they were very long with many different moments in them.    I added many markers throughout the clips thinking I’d base my workflow around those markers.   I then opened the “Markers” window in the UI imagining that this would be the core tool to get my markers into timelines.  But how wrong I was, this window is next to useless. Much to my surprise the Markers window in the UI is incredibly underpowered.    It doesn’t even open the source monitor if it’s not already open on that clip so you can’t even orientate what your source clip is using this interface.  The changes below would be incredibly quick to make and genuinely allow a whole new workflow and way of working purely with markers that I think many would find useful.   Make the source monitor load the clip when we double click an item in the Marker window.    Currently if the source monitor is closed we don’t even go to that clip and don’t know which it is!   If

Do others agree that it is a great idea to have an easy access field on the timeline to put video and audio transition frame number? Currently, we have to go into a preference submenu. This seems cumbersome. It is a number I have to change often. Does anyone feel the same way?

Hi Adobe Team,It would be incredibly helpful to have a temporary drag-to-zoom action in the timeline, especially for those of us working primarily with a pen and tablet. Ideally, this would be something you trigger with a shortcut, drag across a section of the timeline with the pen, it zooms into that region, and then you’re immediately returned to whatever editing tool you were using before. Not a dedicated zoom mode, more of a quick, repeatable one-time action.A marquee-style approach — zooming into a drawn region — or behaviour similar to Premiere’s Zoom tool already points in the right direction and can effectively emulate this kind of interaction. The key difference is that these approaches leave you in the Zoom tool after the action is completed.Zooming is usually just a momentary navigation action before making a selection, trimming, or performing an edit. Having to manually switch back to the Selection tool each time interrupts the flow.Thanks!

We are using the program window both for editing and watching/monitoring. It is more efficient than using the playback second window because program window lets you to control and work on it. However, this window cannot be minimized and you have to move or resize it everytime you need to check something in the background. We need the ability to minimize for the program window.

When writing captions, I often use the ctrl + backspace command to erase the full word behind the caret. However, Premiere does not recognise this command and instead makes a little box which I now also have to erase. I just jumped over from YT's captioning system due to its clunky nature, and this issue is the only one I have since the move. This is an issue sometimes in certain software, and I hope it's not a difficult fix 🙂  1. Type some text in the captioning tool2. Have the caret amongst the text3. Press ctrl + backspace- expected outcome: Word to the left of caret erased (and if keys are pressed down longer, the next word and so on)- actual outcome: Little box character is typed to the left of caret Premiere Pro Version 25.0.0 build 61Windows 10 EnterpriseVersion 22H2OS build 19045.5011

For years now, I've lived with Premiere Pro rendering "previews" of all the audio files in the entire timeline when I simply want to output just a short work area, but why? I don't get this behavior!I'm working on a 90 minute film but when I export a short work area I have to either wait a massive amount of time for Rendering Required Audio Files that are not in the work area to finish or create a subsequence of that work area, which renders very fast (but that's a multistep workaround).Image shows a 1 min 38 sec work area with about 75 audio clips to create previews of 2500 audio clips requiring an hour. Seems like Rendering Audio Previews could be done in the background rather than waiting until the moment a quick render of a litle work area is needed.I've lived with this weird, annoying, time-suck for years.Anyone know why?

Professionals do not keep their assets on the C drive. Adobe has always recommended against it. Searching the C drive takes longer than any other drive. This makes locating take astronomically longer than it should. I’ve attached a quick video that demonstrates most of what I’m talking about. EXCLUDE DRIVEIt’s a cool new feature to search the other drives after searching the selected drive. But we need to be able to to exclude certain drives. SKIP AND RESUMESometimes I’m searching for an asset and this new feature will find one with the same name. There isn’t a way to tell the search “no, this isn’t the file, keep searching” or essentially “skip & resume search” or “skip and keep searching”. Being able to exclude C drive would be awesome. Being able to exclude whatever drives or folders we want to choose would be the best. This is a big deal to me because I'm relinking years of projects that now have assets on a new RAID I spent a month and a half setting up. I need link media to n

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

It would be great to have the Adobe Express' ai animated captions system integrated into Adobe Premiere Pro.It would save much time since captions animation in Premiere Pro still doesn't have the ability to highlight words as the speaker talks. That's a very popular feature seen in social media, and having to export from premiere pro and then upload again in adobe express in order to do that is not a good workflow.Adobe express editor is a great idea, but still slow and limited compared to Premiere Pro, so it would be great to have this feature inside Premiere.

HiI' want to make some captions with a background, that does not change in height when using letters like "g" or "y". So it should only adapt when shorten or lengthen the text (one line). The problem is, that the height changes when using some specific letters (like "g", "y" or "p"). Is there a way to fix that? Best regards  

Hi Adobe Team,Many of us use the “Move Playhead to Cursor” function constantly in Premiere, especially when working on large timelines with many tracks. It’s incredibly helpful because it lets me avoid having to travel all the way up or down the interface just to grab and drag the CTI. Being able to jump and scrub directly from wherever my pointer is saves a lot of time and keeps the workflow focused.In Avid, the timeline feels more “open” in the sense that you can move around it very freely unless you’re in a specific selection mode. Premiere, on the other hand, keeps you effectively in a selection-based interaction all the time, which is why “Move Playhead to Cursor” becomes such an essential tool for navigation and scrubbing.That said, I’ve noticed the behaviour can feel quite jerky when scrubbing while holding the command. It seems to repeatedly re-register the action instead of behaving like a continuous, fluid motion. Ideally, it would respond as a single activation, and then whi

When dragging the ends of an already trimmed clip, we should see a ghost, low intrusive overlay that shows where the true end or start of the clip is. Like in the snapshot, I thought PP was doing this with that little dark grey bar to the left of the nested clip, (“oh wow a feature I didn’t know about!”) until I realized that wasn’t the start of the clip- the start of the clip is where it’s shown. PP must have been glitching with that grey bar. 

When you’re text editing, stopping to do something again is time consuming. I am talking about the pauses that stay in when you cut out a section of video via text. 98% of the time it’s something that could’ve been removed. I cannot run the filter “pauses” because it will chop out important audio pauses I need while I’m showing a product. image below is an example. this is 2 seconds of dead space that stayed in after I cut a mistake out. I have to go back, highlight the two ellipses, and delete again. I know this is not recommended for all, but I would love some sort of setting that says “Don’t leave open spaces after a cut”. I put in a suggestion last year about making the pause length more robust - where it would remove x.x second (short) pauses, but anything over that would be preserved. This setting could add a option that says “x.x space left when deleting words or sentences”. If I miss this correction, it sounds and looks like this:  

It’d be great to be able to rename a track and have the name be visible even when the track is minimized down to its shortest level. A final picture lock sequence might have 20 video tracks and 40 audio tracks. It can be wonderful to name an audio track “SFX1’, “SFX2”, etc. However, currently, to be able to see the track name, I have to heighten the track four steps. With 40 audio tracks, it can be really easy to miss something that’s on track 39 when I’m looking at track 12.It’d be nice to be able to call video tracks “GFX”, “VFX”, “L3”, “Subtitles”, etc. and not have to heighten four steps.

Hello, in a previous update, you added the ability to toggle the active Lumetri Color Effect instance at the top of the Lumteri Color panel. This is incredibly helpful when using multiple instances of the Lumetri Color effect. However, manually toggling between Lumetri effect instances with the mouse is extremely slow! I would like to request new keyboard shortcuts for "Select Next Lumetri Effect" and "Select Previous Lumetri Effect” that would toggle the active effect. This would be a huge time saver for editors and colorists—especially those working with hardware control surfaces and panels.

We that bought Canon EOS R6 mk3 (many of us) loves shooting in RAW and 7k and Open Gate, etc… But coming to Premiere and not being able to drop it and edit it… Makes me, my team, my freinds and a lot of people question the money we spendon this app while there’re assistants encouraging us to use competitor’s software like DV do transfer it to ProRes and then export it to Premiere… If I need to do that then might as well spend the same amount of money on the other software than this…No hate but please team, work faster… R6 mk3 came out Nov 2025… We are 3months into 2026...

This has been a long time coming.When Premiere Pro outputs playback for ‘unsupported frame sizes’ to a broadcast monitor or client monitor via SDI/HDMI out of I/O hardware (Blackmagic in particular), it stretches the image to fit 16:9 streams. In this day and age, vertical and other frame sizes, 9:16 4:5 1:1, should all be supported. I wish Premiere Pro would, through a setting, automatically add pillarboxes to embed these frame sizes into the 16:9 stream out to the monitors. Yes, there’s a work around for this, but adds to a cumbersome workflow in editing. Davinci Resolve for a while now has a toggle to ‘Use Vertical Resolution’ when outputting to monitors, regardless of I/O hardware. What this means is, it adds pillarboxing and maps it into 16:9 so it’s displayed correctly on monitors. AJA’s hardware now has the ability to do the same mapping, through it’s I/O hardware. It’s hardware is typically much more expensive than Blackmagic hardware. Most independent artists use Blackmagic ha

Context: A lot of times on documentaries and films lots of cameras will start/stop, meaning multiple clips will sync to one audio file. When you add multiple cameras into the mix, it can get a bit crazy. Usually not a big problem if you have timecode lock on the cameras, but often there are cases where you have to sync via another method such as waveform. This isn’t always great because not all cameras run native scratch audio and even when they do, sometimes the waveforms are too generic to where Premiere tries to sync things that don’t actually go together.Problem: When Timecode Sync and Waveform Sync fail, you’re left with having to find a “sync point” and manually sync each clip.Solution: It’d be great if in addition to Waveform audio and Timecode sync, Premiere could use the transcribe and visual analysis AI tools it has built in to sync clips. It would also be nice to create “sync map” sequences that could easily convert into multicam sequences when sync is finished.

I’d love a “Favorites” category in Lumetri. You could add features (like the color wheels or Saturation) to it, then interface with just your favorite controls down there.I feel like I spend half my time color correcting switching between the tabs. I set the black/white points in Curves, refine values in Basic, go to Creative just to turn up Vibrance, then mess with the color wheels. These are basically all I ever use. I have a “favorites” folder for Effects, and love not digging or searching. Can we do the same within Lumetri?

As is possible in AE, it would be a very nice addition to be able to temporarily change the program monitors background to a desired color instead of black. I know, I know, “create a matte and underlay it..” Yes, but: AE can do it too and it makes a lot of sense as a safety feature against having accidental tiny black margins, which can easily happen if you work with letterboxed footage, or the transform effect (does not show clip frame-outlines, as changing scale in “Motion” does). Best, L