Make fit to fill (speed/4-point editing) possible when cutting a source sequence *as individual clips* to the program timeline.

In Premiere Pro, Fit to Fill (Change Clip Speed) currently works when:

• loading a single source clip in the Source monitor and set In/Out, or

• loading a source sequence as a nest and perform a 4‑point edit.

However, if “Insert and overwrite sequences as individual clips” while working from a source sequence (typical “reel” workflow), Fit to Fill is not available. To use Fit to Fill, I have to match‑frame back to the underlying clip in the source sequence, set In/Out again there, then perform the 4‑point edit from that original clip. That breaks the flow and ignores the In/Out I already marked in the source sequence.

My common workflow:

• I build source reels as sequences (dailies, selects, etc.).

• I load those sequences in the Source monitor with “insert/overwrite sequences as individual clips” so I can cut pieces of those reels directly into the main timeline.

• Sometimes I want to do a Fit to Fill: I mark In/Out on the source reel and In/Out on the program timeline and expect Premiere to adjust clip speed to fill that duration.

Right now, Premiere only behaves and gives the fit to fill option if the source sequence is treated as a nest. When it’s “individual clips,” Fit to Fill doesn’t honor the source sequence’s In/Out and can’t complete the edit. It’s greyed out. The workaround is:

• Match‑frame to the underlying clip in the source sequence.

• Re‑mark my source In/Out on that clip.

• Then perform the Fit to Fill 4‑point edit from that clip.

This works technically, but it’s clunky and loses the editorial context of the reel.

Requested behavior
Please enable Fit to Fill / 4‑point editing when cutting from a source sequence as individual clips. An option I am sure the Adobe engineers could implement way better:

• If I have In/Out set on the source sequence in the Source monitor and In/Out set on the program sequence, Fit to Fill should:

  • Match‑frame to the clip at the source In point inside the source sequence.

  • Respect the source sequence’s In/Out selection (or, at minimum, the duration).

  • Adjust that clip’s speed to fill the program In/Out, the same way it does with a normal clip Fit to Fill.

• In most real‑world cases, my Fit to Fill range lives inside a single clip in the source sequence, so this is straightforward.

• If the marked source range spans two source‑sequence clips, Premiere could either:

  • fit only the first clip, or

  • show a Fit Clip dialog with an option like “Span multiple source clips (change speed across them)” to handle the more complex case.

Conceptually, the editor’s expectation is:

“I marked the section I want in my source reel and marked where it should go in the timeline; Fit to Fill should adjust speed to make that happen, regardless of whether the source is a single clip or a sequence set to individual clips.”

Why this improves workflow

• Editors who cut from reels, dailies sequences, or selects sequences can stay in that context instead of bouncing back and forth to original clips via match‑frame.

• It makes Fit to Fill consistent with other 4‑point behaviors: four points are set, so Premiere should honor them regardless of source type.

• It reduces extra operations (match‑frame, re‑mark In/Out, then edit), which adds up significantly on long‑form jobs.

Even if there are edge cases with multi‑clip spans, having Fit to Fill work for the common “single‑clip inside a source reel” scenario would be a big quality‑of‑life improvement for editors who love working from sequences in the Source monitor. (although the math to fit to fill when spanning multiple clips really shouldn’t be that hard)