Feature Requests

When selecting items in bins it would be SO helpful to show how many have been selected.When moving footage around between different media storage it's useful to know you have X number of footage in the bin or in the current selection.

I can't stand it at allI can't stand this garbage label patch even if I try to use it.The visibility is too bad.Adobe says they patched it to improve readability,but it actually makes the worker's work speed like garbage.Rather, the high contrast hurts my eyes.Of course, some users may like it,but many opinions, including mine, say it's garbage.Also, it's not clear whether the Fx effect is applied or not. (See attached file)You have to click or play to find the applied effect.This label patch is just garbage in every way.It's the worst patch that slows down my work speed.Please, please, please roll it back pleaseIt's really garbage. Please.

Everyonce in a while, I find that autosave is not working properly...  probably a smart idea to check once a week to make sure...  I've got my autosave interval set to every 5 minutes...  and have the autosave folder saving to my media drive for the specific project....  I also have a folder on my startup drive for my premiere projects that is automatically mirrored on dropbox...  And since I pay for a dropbox plan, I can actually access a fair number of versions of the project file for the last month...  I'm that belt and suspenders kind of guy.   Gotta say, I use to see this problem occasionally in fcp1-7...  Don't remember if it ever happened back in early avid days in the 90's.  

Hello Adobe Community,I would like to propose a feature that could significantly enhance the user experience in Adobe Premiere Pro and After Effects: an automated skin tone detection and correction tool.Description: This feature would automatically detect skin tones in video footage and adjust them to a predefined "base tone," regardless of the lighting conditions. This would streamline the editing process, allowing editors to achieve consistent and accurate skin tones with minimal manual adjustments.Why is this valuable? Many video editors face challenges with skin tone discrepancies due to varying lighting situations. By incorporating this tool, Adobe can enhance the editing workflow, reduce the time spent on color correction, and help maintain visual consistency across projects.Thank you for considering this suggestion! I look forward to hearing your thoughts and any feedback from the community.Best,Paul Steyn

Don't know if it's a bug, or something not thought through, it accompanies Premiere Pro for ages and no one seems to care about it... I think it's time to.If you open a 4K footage in the Source monitor while in a 1920x1080 sequence, the source mon shows the video cropped.Steps to recreate:1) Create a FHD sequence:2) Import a 4k footage3) Drag it onto the timeline keeping the existing settings4) Doulbe-click on it on the timeline and see this:And here's what it should look like or does so when opened from the project bin:So the source monitor should show the videos the same way in all cases. I think this should be fixed.Premiere Pro 25 (or any), footage properties below (or - again - any 4K), 14700K, 4080, latest Studio drvs, Win11Don't know if it's important - Fit to screen is set as default scaling in the preferences.  Type: MPEG Movie File Size: 55,94 MB Image Size: 3840 x 2160 Frame Rate: 25,00 Total Duration: 00:00:31:16 Pixel Aspect Ratio: 1,0 Alpha: None Color Space: R

I like transcribing in Premiere. The one thing I wish it had is the ability to Export the transcription as an SRT - without having to create captions. I don't need the captions as a track. I just need to create an SRT from the transcription. Most third party AI's will allow you to export a transcription as an SRT without creating a caption track.  That would be my suggestion.  (Note: Subject changed my moderator.)

In both Premiere Pro and After Effects in the new properities panel, it would be nice if there was some way to store and save (per project) hex numbers to recall when you need a specific color.

in the past there was support for the ARRI Look File 2 / ALF2 (*.aml) that is stored in the file header of each file of an ALEXA Mini/SXT/LF/Mini LF. This feature was great for users of ARRI Cameras during editing or post-production. In the latest releases of Adobe Premiere Pro the support for the ALF2 was discontinued.  Now there is the ALEXA 35 with a new look file called ARRI Look File 4 and ARRI Look File 4c (Custom Color Management). All color and look related information is stored in the file header of each file.  For editing it would be a great feature getting the looks from set to post-production. Just an idea.... please give +1 if this would helpful for you.  BTW: you can use the ARRI Reference Tool for extracting the look information (CDL and 3D-LUT) from the file header.  

Quick key to insert clips and audio files on separate video & audio tracks for synchronization . For instance i need to sync 3 cameras angels with 10 different clips and 2 audio files i have to drag each file manually on different tracks to sync everything together. it would be HUGE TIME saver if i could just select all clips i need to insert and either assign a quick key to inert all on differnt tracks or right click> insert on different tracks...... THIS WOULD BE HUGE.. thanks! 

1. COLORED SEQUENCE TABSIt would be nice to have colored tabs on the timeline window for quickly finding particular timelines when many are open. FCP7 had this and it was very useful for rapidly identifying sequences. Thank You! 

OpenTimelineIO is an interchange format and API for editorial cut information. OTIO contains information about the order and length of cuts and references to external media.Please provide a native import / export feature as it greatly improves user experience for moving video projects along the production pipeline.https://github.com/AcademySoftwareFoundation/OpenTimelineIO

V25.1.0 (beta) introduced a new behaviour in the sequence panel whereby a clips opacity can be adjusted directly by pointing to a particular area on the clip and dragging up or down. This is super annoying because most of the time, all I want to do is select and move the clip. But if I don't click the clip with high precision and avoid the opacity adjustment area, then I will unwittingly adjust the opacity instead of moving the clip.PLEASE, remove this behaviour and make it available only when "Show keyframes" is selected in the sequence panel settings menu.

When I upload to Vimeo, I have to choose Viewable by "Only Me" because the "Unlisted" option is not available within the Premiere Export settings.  This forces an extra step of changing the Viewable setting on the Vimeo site or through the app before sharing with clients.  I would like all Viewable options to be present in the Premiere Export settings.

Adding a thumbail for YouTube uploads within Premiere saves a tedious step in my workflow for sharing finished content with clients.  I would like the same ability when exporting to Vimeo.

nas versoes anteriores do premier, antes da 25, era possivel alterar as cores do theme do premier, como cores das janelas, mouse, e agora na 25 nao é mais possivel, esse recurso era muito interessante, pq deixava o meu Workflow muito mais com o meu perfil, e agora so consigo deixar escuro, claro ou dark, se puderem deixar na aba appearance essa opção ia ser muito util e interessante...

Please add the generative expand feature for 4k clips

Just an FYI, I've done comparisons between exporting my podcasts with the in-program enhanced audio in Essential Sound as opposed to audio tracks created in the Enhance Speech tool in my browser and then downloaded and placed in my timeline...audio that is enhanced inside Premiere takes far far longer to export and isn't worth my time. I don't know if this is because ME has to re-render the audio or not. If it has to re-render, then what is the point of using it?  I need my exports to be as quick as possible and right now the in-program audio enhancer is not saving me time. It's far easier and a better workflow to use the Enhance Speech tool in the browser.Also...if you have any audio tracks on your timeline that were enhanced inside Premiere, it does not make a difference if those tracks are muted or disabled, ME will need to process them on export and it will take more time.  This is in PrP 24.5 using an M2 Max Macbook Pro

I am an extreme newbie - I spent about an hour working on a project to where I was done making edits and wanted to focus on color grading the videos.So like any newbie would, I clicked on the "X" next to my sequence to, what I thought would just close the timeline panel, but no. It deleted my entire sequence. Now I thought "How weird! they wouldn't just put a button so detrimental to the creative process right out in the open. My project must be saved somewhere" Alas, After searching through the community answers and and doing my own digging, the sequence is nowhere to be found. All the answers on here suggest "Just look in your project panel and find the sequence icon" Okay it's not in there all that is in there is the raw footage I used to create the video."okay but it should be in your auto-saved folder" sure, but when I drag it in it all comes out as one solid video, meaning I can't make any edits to the clips. This is a horrible feature and I can't image why it's so

Please put rounded corners back like they were in earlier addions of Beta or allow user to decide if they want them. I feel they are more pleasing to the eye and more inline with a modern UI. Thank you'Darrell Martinelli

Does anyone know this is a possiblity? I recently upgraded from 2017 and am used to pressing T for splits, now I press M on each point I will need split during the clips I have stacked, but it will take alot of clicks to split at each marker individually vs marking each point then automatically splitting. Thank you

Single keystroke 'append' function (as an alternative to insert/overwrite/insert before/insert after/overlay). Adds clip to end of timeline (obey track light / patching / source in + out) ignoring sequence in/out.  Sequence to otherwise remain unaffected (i.e. sequence in/out, playhead position, track lights). Bonus: being able to assign sequence to append destination - so it could be an already pancaked selects sequence.

ProblemMore and more users are editing podcasts, Zoom/Teams events, video interviews done with tools like Riverside etc. in Premiere Pro. Especially after we got Text-based editing, I’ve seen an increase in clients doing this kind of editing in Premiere Pro. One thing they all have in common is that they’d like to auto-mix voices that are on different audio tracks. Say you have two or three audio tracks, and you want to duck the levels on the tracks of those who are not speaking at the moment to avoid spill/bleed/leakage/phase issues, noise, and generally low audio quality. For now, this is mostly a manual task. ExamplesThis is a screenshot of a client’s timeline of an interview with two microphones (track 1 and 2), and as you can see, they’ve done a lot of manual cutting back and forth between the tracks. Manual cutting of interview with two microphones I have tried to trick the Essential Sound panel into auto-ducking one voice against another, calling one of

I pasionately and hopefuly wish this can fly. Bear my writen english with me:As a Graphic, VFX  and Motion Designer with 31 years on the job, and the same 3+ decades with Adobe, i wish it would be a cross platform function (The same with the detail as battleaxe  had acomplished so big with "Overlord") but for COLLECT. Not only the bland and forgotted in AE, niether the Media Manager in Premiere Pro.NO. No, god, NO. (Like "The Office" Meme NO)One in wich you can, for example: Have a Premiere project with Dynamic Link AE Sequences and if i'm sharing, moving or wanting to delete unused media, from ANY OF THIS TWO APPS (AE and Premiere) have the same panel to safely and interactively make a COLLECT fully functional with the same AEP and PRPROJ files, and assets in the SAME STRUCTURE as my disk. And no, NO! Without converting AE Comps to Renders.ALL LIVE, ALL EDITABLE with no unused relative files. All safe and easy (easier at least...) to understand.

The "Crop" and "Transform" toggle buttons are not displayed when multiple clips are selected.1. Select multiple video clips on the timeline.2. Check the "Crop" and "Transform" toggle buttons that should be in the bottom left of the program monitor.ResultThe "Toggle buttons" that should be there are not displayed. IdealWhen multiple clips are selected, the "Crop" and "Transform" toggle buttons should be displayed in the same way as when one clip is selected.     複数クリップを選択した状態だと「クロップ」と「変形」の切り替えボタンが表示されない   ①タイムライン上で複数のビデオクリップを選択。   ②プログラムモニター左下にあるはずの「クロップ」と「変形」の切り替えボタンを確認。   結果 本来あるはずべきの「切り替えボタン」が表示されない。   理想 複数クリップを選択した時も、１クリップを選択した時と同じように「「クロップ」と「変形」の切り替えボタンが表示されるべきだ  

Why Premiere Pro Desperately Needs a Native ISO Denoise Feature Hey everyone, As a dedicated user of Premiere Pro and a passionate videographer, I've been consistently impressed by the new Ai capabilities Adobe has set forth for their editing software. However, there's one crucial feature that's glaringly missing and becoming increasingly essential for many of us – a native ISO denoise feature.  Here’s why this addition is so important:1. Improved Workflow Efficiency: Currently, if we want to denoise our footage, we often have to rely on third-party plugins or external software like DaVinci Resolve. This not only adds extra steps to our workflow but also consumes additional time and resources. A native denoise feature within Premiere Pro would streamline the editing process, allowing us to stay within one platform and maintain a smoother, more efficient workflow. The third-party plugin situation is particularly absurd. Many of us find ourselves paying for addit