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As of 2026, State mandates are now requiring Descriptive Audio (DA) captioning for cable television and YouTube videos. DA is when sound effects are also transcribed: a car horn showing the word "beep" for example. This issue is now a high priority for government television stations and non-profits, and includes online video content as well. Currently there is no option beside text captioning in Premiere.
1. AI-Powered FeaturesArtificial intelligence represents the biggest near-term opportunity for Audition to differentiate itself. The following features would automate time-consuming manual tasks and deliver meaningful results for podcast producers, voiceover artists, broadcast engineers, and music editors alike. 1.1 Semantic noise removalInstead of manually dialing in noise reduction thresholds, AI should identify and classify noise types — HVAC, traffic, room tone, electrical hum — and apply context-aware profiles automatically. The interface should expose a single adjustable 'aggressiveness' slider rather than a bank of technical parameters. This makes the tool accessible to non-engineers without sacrificing precision for advanced users. ● High priority 1.2 AI-powered dialogue cleanupAutomatically detect and remove mouth clicks, breath sounds, mic pops, and plosives without affecting the surrounding audio. The current workflow requires manual identification and repair, which is extremely time-consuming. The ideal implementation is one-click processing with per-detection override — allowing editors to review and restore anything the AI incorrectly flagged. ● High priority 1.3 Smart silence detection and pacingExisting silence detection is based purely on audio level. An AI-based replacement should understand natural speech rhythm — detecting pauses that feel long relative to the speaker's cadence — and allow trimming or shortening them without making the result sound unnatural. Ideally, the system should learn from an editor's decisions over time to improve per-project. ● High priority 1.4 Automatic room acoustics matchingWhen audio from different recording environments is combined — remote interviews, multi-location podcasts, overdubbed narration — the acoustic mismatch is immediately noticeable. AI should analyze the room tone and impulse response of each track and normalize them to a shared acoustic profile. This alone would save hours on professional podcast production. ● High priority 1.5 Speaker diarization and track separationAutomatically detect and separate multiple speakers in a single recording, assign each speaker to an individual track, and label them by identity. This is already available in tools like Descript and is increasingly expected in professional audio software. It is particularly valuable in podcast, interview, and conference recording workflows. ● High priority 1.6 Stem separationIntegrate machine-learning-based stem separation — vocals, instruments, drums, bass — directly into Audition. This would allow editors to isolate or remove individual components of mixed audio without requiring third-party plugins like iZotope RX or Spleeter. Use cases include music podcast production, archival restoration, and sound design. ● Medium priority 1.7 AI mastering assistantAnalyze a finished mix and suggest or automatically apply mastering corrections: dynamic range adjustments, loudness normalization to LUFS targets, and EQ balance corrections. The system should offer platform presets (podcast, broadcast, Spotify, Apple Music, Netflix) and present its suggestions transparently before committing changes. ● Medium priority 1.8 Voice cloning for gap-fillUsing an existing recording of a speaker as a reference, generate short corrective phrases or fill missing words. This is invaluable for podcast editing and voiceover work where re-recording a session is impractical. The feature must include ethical safeguards: audible watermarking options, disclosure metadata, and explicit user consent workflows. ● Medium priority 1.9 Natural language editing commandsAllow editors to type or speak instructions — 'remove all background noise from 00:30 to 01:15' or 'bring up the second speaker 2 dB in the chorus' — and have AI execute them on the timeline. This lowers the barrier for less experienced users and accelerates repetitive operations for professionals. ● Medium priority 2. Core Editing CapabilitiesSeveral fundamental editing capabilities are either missing or underdeveloped in Audition compared to competing tools. Addressing these would significantly improve the experience for experienced editors working on complex projects. 2.1 Fully non-destructive effects chainAll effects should be applied as a live, non-destructive chain that can be reordered, bypassed, and removed at any point in the project lifecycle — similar to a plugin rack in a DAW. Currently, many operations in Audition's waveform editor are baked into the audio file. This should be resolved by moving to a fully non-destructive architecture throughout the application. ● High priority 2.2 Waveform-linked transcript editingAn automatically generated, editable transcript that is directly linked to the waveform. Deleting or rearranging words in the transcript removes or moves the corresponding audio. This feature — available in tools like Descript and Hindenburg — has become a standard expectation for podcast and spoken-word production workflows. ● High priority 2.3 Spectral repair with content-aware fillThe spectral editor should be expanded with multi-selection, lasso tools, and frequency-locked brushes. More significantly, it should include AI-powered content-aware fill — analogous to Photoshop's — that seamlessly removes tonal artifacts such as sirens, ringing phones, or microphone interference by reconstructing the surrounding spectral content. ● High priority 2.4 Clip gain automationClip-level gain should be independently automatable with its own lane on the timeline, separate from track volume automation. This is a standard feature in Logic Pro and Pro Tools that is conspicuously absent in Audition, and its absence forces inefficient workarounds for fine-grained level control. ● Medium priority 2.5 Improved punch-in and compingPunch-in recording should include a configurable pre-roll and post-roll buffer by default. Audition should also offer automatic take comparison — using pitch and timing analysis to identify the best take — and allow layered comping directly in the waveform view, rather than requiring editors to work around the current limited implementation. ● Medium priority 2.6 Improved loudness meteringLUFS, LRA, and true peak meters should be permanently docked, always-visible panels — not buried in the Diagnostics or Amplitude Statistics panels. They should include selectable platform presets for Spotify, Apple Podcasts, Netflix, EBU R128, and ATSC A/85, and update in real time during playback. ● High priority 3. UX & Workflow ImprovementsSeveral workflow and usability issues slow down everyday production work. The following improvements would reduce friction for recurring tasks and bring Audition closer to the efficiency expected of a professional-grade tool. 3.1 Customizable macro systemUsers should be able to record, name, and assign keyboard shortcuts to sequences of actions. This is critical for repetitive podcast production tasks — for example: apply loudness normalization, add fade in/out, export to MP3 at 192 kbps. A macro system would make Audition significantly more competitive with tools like Adobe Premiere Pro's own action recording features. ● High priority 3.2 Batch processing overhaulThe batch processor requires a full redesign. It should support conditional logic, allow drag-and-drop reordering of processing steps, show a preview before committing changes, and present a modern navigable interface. The current dialog is functionally limited and visually outdated compared to even basic audio converters. ● Medium priority 3.3 Project templates with full configurationUsers should be able to save complete project configurations — track layouts, routing, effects chains, loudness targets, export presets — as named templates. Starting a new podcast episode, voiceover session, or radio spot should take seconds, not minutes of setup. ● Medium priority 3.4 Plugin management improvementsA centralized plugin manager with category tagging, favorites, A/B comparison while auditioning, and the ability to save and name effect chains as reusable presets available across all projects. Currently, managing third-party VST plugins in Audition is cumbersome and lacks the organizational tools that professional users require. ● Medium priority 3.5 Cloud-based collaboration and version historyCloud-synced projects with version history, the ability to add time-coded comments on clips or regions, and a shareable review link — similar to Frame.io's model, but built specifically for audio. This is particularly valuable for remote podcast production teams, where client approval workflows are currently handled outside the application entirely. ● Nice to have SummaryThe table below provides a quick-reference overview of all proposed improvements by section and priority. Feature Category PrioritySemantic noise removal AI features HighAI dialogue cleanup AI features HighSmart silence detection AI features HighRoom acoustics matching AI features HighSpeaker diarization AI features HighStem separation AI features MediumAI mastering assistant AI features MediumVoice cloning / gap-fill AI features MediumNatural language editing AI features MediumNon-destructive effects chain Core editing HighTranscript-linked editing Core editing HighSpectral repair + AI fill Core editing HighImproved loudness metering Core editing HighClip gain automation Core editing MediumPunch-in and comping Core editing MediumMacro system UX & workflow HighBatch processing overhaul UX & workflow MediumProject templates UX & workflow MediumPlugin management UX & workflow MediumCloud collaboration UX & workflow Nice to have End of document
I use the Blob Brush to outline the shape of a fill but then have to delete the floating vertices inside of the shape, it would be nice to have a checkbox in the Blob Brush Tool Options that removed/undid any Compound Paths. That way you can stop interrupting your Blob Tool brushing to delete the hollow center, so to speak. In this example, I’m using the Blob tool to create a cell that will eventually be a shadow. I would like the Blob Tool to have an option that releases the compound path after de-selection and remove the inside path. This would alleviate the need to deselect, use the Direct select tool to delete the inside vertices, and would let an artist continue using the Blob Tool without having to interrupt the workflow. Procreate doesn’t even do this yet.
Dark theme capability for those of us with sensitive eyes to bright white screens. I can't use your product if it doesn't have dark theme.
Photoshop currently lacks the ability to natively open multi-layer EXR files, typically only loading the combined "RGBA" layer and an Alpha channel.While Windows users have access to third-party plugins like Exr-IO, macOS users have no viable equivalent. Currently, my workflow requires me to open renders in Affinity Photo just to export them as PSDs for Photoshop.This constant switching is a massive productivity drain. While I prefer Photoshop’s toolset, Affinity’s native handling of multi-channel EXRs makes a strong case for moving my entire pipeline there.Request: Please implement native, multi-channel OpenEXR support that preserves layer names upon import.
I am very hopeful to have a response from Adobe to this suggestion, please hear me out?It goes without saying and likely has been said a million times before, that many wish for Adobe CC's suite to be available on Linux.** I understand Adobe's position on this and I'm not seeking to change that. **Enough people have asked in the past and there's no point asking again.Adobe sees no financial motivation to support a platform that has such a small userbase, that's a 100% reasonable position for a financially motivated company to take.The only problem is, that platform, Linux, has such a small userbase partially because Adobe doesn't support that platform. The Adobe CC suite is such an essential suite of software for so many people, that without it, a platform is dead in the water. Hence Linux is stuck in a catch 22 position, of not being able to grow it's userbase to get a port of Adobe's CC suite, because it doesn't have a port of Adobe CC.Leaving Linux, up a creek without a paddle.What I am suggesting is an alternative solution that could satisfy all parties.A solution that allows Linux user's everywhere to pay for and use Adobe CC's suite on Linux (more customers is a good thing right Adobe?) and which requires no development work from Adobe, and no obligation to support Linux as a platform in any official capacity.Wine, is a software tool that Adobe developers have no doubt heard of, as it's currently the only way which Adobe CC users can run Adobe CC on Linux. It's the tool that also powers Valve's tool Proton, and has improved so much in recent times that it's being used to allow Windows games to run on Linux.It's incredible software and gets better by the time, the latest version is finally almost capable of running the Adobe CC suite, but just not quite there yet. The Adobe CC application itself, that manages installation of Adobe CC applications, can't not run, however many Adobe CC applications can *mostly* run with minor issues if that can be navigated around using hacky methods of copying installation files from Windows.The Wine developers are always hard at work trying to improving Wine and get Adobe CC running, but it's a huge task. What would really help Wine's development team is something that they can't do themselves, but which Adobe could do with almost no effort.> Having a look at Adobe CC's source code."Whoa now!" some of you might be saying, "Why would Adobe let anyone view the source code of Adobe CC?".Here's what I'm proposal: Could Adobe make the offer to the Wine developers, to allow them to sign NDAs preventing them from sharing anything they are shown, and in exchange get to temporarily gain access to *relevant sections* Adobe CC's source, to view and review aspects of the code that are causing issues with Wine, and determine the root cause of why certain things don't function under Wine as they should. Wine's developers could even suggest *minor* changes that could be made that would ensure compatibility with Wine.No actual development effort would be required from Adobe, no funding, no support, no testing, but in return for just a tiny bit of cooperation from Adobe CC , the entire suite could be made to function on Linux with almost no effort. This idea is actually similar to something Valve is currently doing with EasyAntiCheat, to get that software working with Proton, they are currently in talks right now and dealing with NDA issues as well.I do not represent Wine's development team, but if Adobe is open to considering this idea, please response and indicate so, then perhaps Wine's team and Adobe's team could have a chat over this and see if some kind of agreement could be worked out?
I use a 13" Samsung laptop Windows-11 PC.When I open the preferences interface tab I cannot see the lower left corner button to restart Lightroom Classic after making changes to any options such as the Font Size option. Please allow user to proportionlly resize the window by grabbing a corner or top or bottom of window just like cropping an image in the Develop Module "Crop Overlay" panel.
put the watermark option on the web page for Lightroom cc, I have the option on my ipad but not on my MacBook.
Customizable keyboard shortcuts in Lightroom would be great. I just find it so confusing that crop and brush tools and things like that have such odd keyboard shortcuts in Lightroom. I understand that changing that all now would be awful for many existing users, but being able to override them like I can in Photoshop would be helpful. Doesn't anyone else out there find they use to wrong keyboard shortcuts in the wrong program?
Years and months are ordered in opposite directions on in the hierarchical date view. This is broken. Here's what happens if you do an interval selection between 2024 and 2023, you get the non-interval (non-contiguous) selection consisting of Jan23, Feb23, Nov24, and Dec24 Please fix.
It would be great to have a built-in project management panel in Adobe Premiere Pro, especially for Premiere Productions.A simple dashboard could show project status, progress, and responsibilities, with features like:Kanban-style boards (To Do, In Progress, Done) Deadlines and assigned team members Visual progress overviewThis would improve collaboration, transparency, and efficiency like a lightweight monday.com inside Premiere. Let’s do it :)
Mouse Scroll wheel does not work on Lightroom sliders on mac. Comming from windows these function is missing a lot on Mac.
In Development module, color mixer or sharpening the idea is to press and hold with mouse, and move the slider left and right. This is not a very accurate way of changing the settings and I believe using the scroll (mouse or mousepad) would enhance this part of the edit process. For example: One could select the exposure setting, go in to ‘move slider by scrolling’ feature and scroll comfortably up and down, until a preferred lighting has been achieved. Can you understand my explanation, and what do you think?
It's been some time since introduction of an automatic transcription feature in Adobe Premiere and I would really love to see an option to transcribe in polish language. It'd make my job a lot easier and MUCH faster. Please cosider. Thanks!
When I try to generate a movie and I’m adding first and last frame the movie doesn’t see this frames and makes movie by own idea, not on my pictures.
I asked a question about the different defringe tools in masks vs. global, but no one knew the answer. I am now requesting a new feature. Please add the mask Defringe to the global edits. It works much better than the current global Defringe and also is much easier to use without all the bad side-effects that the global one often has. Currently the kludge is to create a linear gradient that covers the whole image and then use the mask Defringe, but it would be easier to just make the mask version of Defringe in the global edit controls. Sure, keep the old one too for those who want to use that one.https://community.adobe.com/questions-675/defringe-mask-vs-global-1556459In a mask we can use the Defringe control and it works well. Sometimes I create a mask over an area using a brush or gradient solely to use the Defringe tool. Why is Defringe in a mask so easy to use, effective, and without the bad side effects of the complex Defringe in the global tools?The global Defringe tool rarely works well and often it doesn't work at all. It is common to get a message with the eyedropper that the area is too small or it can't detect anything despite it being clearly visible. And when it does work you have to play around with the 4 sliders and almost never get a satisfactory result. And on top of that the real killer is that if there is anything else in the photo that has a similar color (clothing, car, etc.) then parts of that can also be changed to monochrome.I sometimes even create a Linear Gradient over the whole image if I have problems in many places in order to use the mask Defringe which works so well. So much better results than using the global Defringe.Why can't the simple, easy to use, effective Defringe in a mask not be also available in the global area?After 15 years of using LrC I have found that when I need to defringe that the global tool is truly hit and miss and very often changes completely unrelated things to monochrome that are not fringe. The tool seems to be a mess. And the very simple Defringe tool in a mask has worked very easily every time I have used it. In fact, the kludge I have used sometimes is to make a linear gradient that covers the whole image just so I can use the mask Defringe. I do this after first trying the global Defringe and it being a failure.
[Moderated edited subject line] Hi there, There have been some more accessible anamorphic lenses coming out, and my work bought a couple of them. The video comes out of the camera as 3840x2160, but it's a 1.6x aspect ratio. Currently Premiere can interpret 1.5, but not 1.6, so I end up having to place all of the footage on a timeline and adjust the scale to the right proportions. It would be great if Premiere could add 1.6 in the interpreting panel, so I can continue to use the source monitor as my rushes selection, and not need everything down in the timeline to go through it. It also makes match frame annoying to use. Thanks!
Can we please have the option to disable these grey squares on each end of the clip on our timeline (the transition handles). They are incredibly irritating. I used to be able to click and drag clips with no problem. Now it’s so frustrating to move clips without accidentally engaging with the transition handles to create transitions between clips (which I don’t want to do).We need the option to disable these, please and thank you.And also trying to extend an audio transition doesn’t work. It often makes me trim the clip before of after.
Hello Adobe Premiere Pro team, I would like to report an issue with OTIO export/import in Premiere Pro. I tested OTIO round-trip behavior using a sequence that contains both transform keyframes and speed keyframes (time remapping keyframes). What I tested I created clips in Premiere Pro with: Transform keyframes (position / scale / rotation) Speed keyframes (time remapping / variable speed) I exported the sequence as OTIO Then I re-imported the exported OTIO back into Premiere Pro Result Transform keyframes were preserved correctly However, speed keyframes were not preserved In other words, time remapping keyframes were lost during OTIO export/import round-trip Expected result OTIO export/import should preserve speed keyframes, just like transform keyframes At minimum, Premiere Pro should be able to round-trip its own OTIO export without losing time remapping keyframe information Actual result Edit order, cuts, and some other basic information are preserved Transform keyframes are preserved But speed keyframes are not restored after re-import Why this matters OTIO is becoming increasingly important for interchange between editing and finishing systems.Many users are expecting reliable workflow exchange between applications such as: Adobe Premiere Pro DaVinci Resolve Avid Media Composer At the moment, transform animation seems to be exported, but time remapping keyframes do not appear to survive the OTIO round-trip in Premiere Pro. This makes high-precision OTIO-based workflows difficult for real production use. I strongly hope Adobe will improve this behavior and help support highly accurate OTIO interchange between Premiere Pro, DaVinci Resolve (Blackmagic Design), and Media Composer (Avid). Thank you for your work on OTIO support, and I hope this can be improved in a future update.
Dear Adobe Team,I would like to share an issue that has been a challenge for me for quite some time. First of all, I am grateful for Adobe’s user-friendly approach and pricing policies. As a student, I was able to benefit from affordable local pricing throughout much of my education.However, since Premiere Pro does not currently support Turkish transcription, I have had to either purchase third-party plugins (which are difficult to fit into my budget) or spend a lot of time manually creating subtitles. I am sure there are thousands of users like me who have been waiting for this feature.I kindly ask you to consider adding Turkish language support for transcription in future updates.Thank you for your time and support.
writing prompt option in harmonize feature is give options to freely make shadows and reflection according to project sometimes harmonize feature make shadows not proper or not that we want in design project. Insert prompt feature similar like generative fill make freely options for correction and both options are based on generative ai
Hi Community!I hope u are all fine ,I am a sport designer and i work too much with clubs logo , so i suggest add a new option 'Replace' option which when clicking on it user can replace the layer with another picture from local PC with the same size as the previous , i give an exemple:I have a ready template psd file that i created for Premier League Standings and i want to change the logo of one team quickly and i have already the old logo for the old team which was in 1st place , with just clicking Replace u select the new logo for the new team in 1st rank and boom it is in the correct dimension of the old logo .. I know someone will say use Smart Object but this new object is very practical and quickly especially for Sports Designers ! Thanks
We need to have the grids and the guides in Photoshop for iPad ! I can’t work without them. Thank you !
I would like to be able to change the font and font size across the board in the interface. it is WAY to small for my old eyes
In short, make the curves adjustment like the adjustment in Lightroom Classic.The scopes window gives us information about the image, but that information is not easily translated over to the curves adjustment in Lumetri. At the bare minimum it’d be really useful to have a scale on the X-axis of the curves adjustment, but superimposing the histogram on the curves window would be even better. Additionally, it’d be very useful to add a point selection tool to the curves adjustment so that selecting a highlight or shadow point in the program window is super simple.
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