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I am a professional editor and I need Premiere Pro to support the Greek language for automatic transcription and captions. Currently, Greek is missing from the language packs, forcing us to use third-party tools or manual work. Please prioritize adding Greek to the supported languages for Speech-to-Text in Premiere Pro 2025. It is a vital feature for the Greek creator community.
Going all the way back to the beginning of Bridge, I have always wondered why Thumbnails, dimensions in inches, does not show exact numbers. It is always rounded up from a tenth of an inch. Example: a file described in Bridge shows a file as 15.2x22.6, yet when opened in PS it is 15.2x22.527.I assume it is to save visual real estate but it requires opening every file to confirm exact dimensions in inches. We often make print files with a fine black line around the image. So a 16x20 will show up as 16.1x20.1 with only 6 pixels added around for trimming. It assumes that we are good with the "estimated" numbers. Having exact dimensions allow checking for accuracy and consistentcy.
Por favor, preciso versão 23 do after effects, que suporta Rosetta.
It would be really helpful to have an AI-powered feature that can automatically organize layers, groups, and assets based on content and naming patterns.For example, detecting similar elements (text, shapes, images) and grouping them intelligently, or suggesting cleaner layer names instead of “Layer 1 copy 5.” This could save a lot of time, especially in complex projects with dozens or hundreds of layers.An optional toggle or preview before applying changes would make it even more practical. Would love to hear if others feel the same or have ideas to improve this!
Integrate a real useful AI-tool to Premiere Pro (and other softwares like After Effects) - Add an AI-prompt tool that responds to all functions and commands in Premiere Pro. For example you can type “Add a Gaussian Blur to all the clips in the timeline with the blur level of 50”. Think of all the possibilities and effective workflow this could contribute to!(And while we’re at it - integrate an AI-optical flow that competes with DaVinci Resolves optical flow)
The enhancement from (formerly Project Shasta) Adobe Podcast is AMAZING. It transforms (most) bad audio into professional sounding audio and professional audio into beautifully-curated EQ'd and Compressed, pristine audio. If you haven't tried it first-hand, you MUST give it a shot. It could make you a believer. The good: For single-channel, vocal driven audio, there is literally nothing that sounds better to me. The bad: 1. I have to export a Raw Waveform and submit it to the website. 2. I have to wait for the file to process. 3. If there are any anomalies that created unwanted compression/limiting/EQ, I have to keyframe the audio's gain in those parts and rinse and repeat until I get the result I want. 4. There are NO parameters to fiddle with, but the end result is usually 99% perfection, I kind of don't care: it is quickly becoming part of my editing workflow on every project.The hope: Whether the process could live locally on Premiere or whether it could live through an integration (maybe like the Auto-transcribe function), I would absolutely LOVE the ability to let the AI of Adobe Enhance process do its magic with less steps - maybe even something along the lines of the Remix feature (which is also an amazing feature).Anyone who has had first-hand experience with Adobe Podcast Enhancement will tell you: this is an AI goldmine for the novice and/or the rushed/impatient editor. Integrating it better into Premiere and Audition and even After Effects would absolutely push it further ahead of the pack of competing NLE's.
I really miss the ability to pick 1-2-3 similar photos from a shoot and compare them during my editing process to pick the beset one of the three.Please bring that back to this version.
It would be really nice if After Effects could export files in Avid's modern codec DNxGX. And also that Media Encoder can do this. And also that Media Encoder can export DNxGX with alpha channel.
It would be great to assign a Keyboard Shortcut to delete all Essential Sound Audio Tags from all selected clips at once. Right now deleting all tags from a couple of clips is many steps because you have to do this independently for each category. The reason is that Premiere can auto detect the correct label but it cannot detect Ambience very well. So I would delete the Tag from a couple of Music, Dialog and SFX-Clips on my Ambient-Track in order to quickly tag them all as Ambience-Clips in one step.
Subject: Feature Request: High-Priority Audio Workflow Improvements & Multicam EfficiencyDear Adobe Premiere Pro Development Team,I am a professional video director and producer. While I follow Adobe’s AI advancements with interest, I would like to request several practical updates that are crucial for high-end production environments. If implementing complex AI features like "Multicam SmartSwitch" (as seen in DaVinci Resolve) is not feasible in the immediate future, I strongly urge you to prioritize the following audio and source management improvements:1. Seamless Multi-track Audio Support in Multicam ClipsCurrently, managing numerous audio tracks within a multicam clip is highly inefficient. Please update the system so that a large number of external audio tracks can be bundled with video into a single multiclip. It is technically counterintuitive that audio and video remain disconnected when using 'Match Frame' during multicam editing. We need a unified structure where audio follows the video source seamlessly.2. Source Timeline View (Avid Media Composer Style)Premiere Pro desperately needs a system that allows users to view a "Match Framed" source clip/sequence as a timeline, similar to the "Toggle Source/Record Timeline" feature in Avid Media Composer. Manually hunting for individual source sequences within the Project panel is a significant bottleneck in our workflow. Being able to instantly view the internal structure of a source sequence would be a game-changer.3. Automatic Audio Dissolves & AI-Driven Transient MixingPlease implement an option to automatically apply a default audio dissolve (crossfade) between every cut during the rough-cut phase. When focusing on storytelling, constant "popping" sounds at cut points are extremely distracting.Furthermore, I suggest an AI-powered mixing feature that automatically handles transients/pops and balances audio levels to broadcast or YouTube standards in real-time. This would allow editors to stay immersed in the narrative without being interrupted by technical audio noise.I believe these updates would significantly enhance the professional editing experience and maintain Premiere Pro’s competitiveness in the high-end market.
La verdad que lo que hizo premiere con las máscaras en esta última función ES UN ASCO. Estoy perdiendo dinero pagando esta “herramienta que más que ayudarte te complican”.NO PAGUEN POR ESTO, NO LO USEN, ES MUY MALO.
Hello Adobe Team,I wanted to share some feedback regarding the upcoming Premiere Pro update and the new Color Panel changes.I noticed that in the beta version, the Lumetri Color panel seems to have been removed or replaced. I would strongly like to request that the Lumetri Color panel remains available in future updates.For many editors, including myself, Lumetri is a core part of the workflow. It is fast, familiar, and highly efficient for color correction and grading, especially in professional editing environments where speed matters.While I appreciate the new features and improvements, removing Lumetri could significantly disrupt established workflows for many users who rely on it daily.Please consider keeping the Lumetri Color panel as an option alongside the new Color Panel, so users can choose the workflow that best fits their editing style.Thank you for continuously improving Premiere Pro.
The Info panel on my iPad version of Lr Mobile has plenty of blank space on it. Please use some of that empty space to display any Location data associated with each image. Even better would be the ability to add/edit Location info on the iPad. This would save time and trouble and make the iPad version more like the version I see on my laptop. What is baffling is that my iPad Pro has an M1 processor that is more than capable of handling the minuscule extra data that is displayed—so why are you handcuffing the Mobile version?
A few key features in substance 3D painter makes it frustrating to try to hand paint in the program, notably around the color picker. The fact that the color palette needs to be open to use the color picker leads to annoying scenarios, especially since it closes automatically when switching from brush to eraser and back. It would be nice to be able to dock the color picker, or if it just stayed open.Also, it’s really annoying that the color picker always open at the same spot on the screen, especially when using dual monitors. I often use my main monitor to create the base layers and generators, then move the window to my tablet to paint over it, but then the color picker always pops on my main monitor and I have to get my mouse to drag it back to the tablet. This combined with the fact that it closes when switching tool is really disrupting. The only fix I could find was to close the program and reopen which is not ideal.Thirdly it would be nice to hide the brush cursor when picking a color, too often I will press the shortcut key around where I want to pick the color and click on the brush cursor picking it’s white color. Finally, it would be nice to be able to switch between material picker and true color picker. Sometimes I’ll work in material mode, but to pick a color I’ll have to switch to base color just to pick the right color that is not influenced by the lighting. I think these changes would help Substance 3D Painter compete with 3D Coat for hand-painted textures.
Premiere Pro on Android with AI is designed to make video creation faster and easier. The AI features help automate editing tasks like trimming, arranging clips, and adding effects, which is especially useful for making live Shorts and Reels. Instead of spending a lot of time manually editing, creators can quickly produce polished content on their mobile device. The main benefit is huge time savings while still maintaining professional quality.
I would like to suggest adding a leg selection mask, similar to existing subject and skin detection tools, to allow targeted adjustments
I have just tested the new Object mask from Premiere in After Effects. And I have a question - why is the AE-variant so much better than its original baby from Premiere?I mean you have thought it through and added not only the standard Object mask tracking but also a means to properly correct the mask. I mean these guys:I’ll explain.A Premiere Object mask workflow is this:You select a clip You click on the object mask and get an AI-selection If you want to exclude something from this selection you use the negative mask. But there’s a problem with it - it’s AI too and it often does not deselect what you need to be deselected.Here’s an example:Premiere 26.2, Object mask selected the bridge stand AND the wires. Whatever you do next you will NEVER deselect the wire here:In after effects you have a selection brush tool which works as a brush and it does work in such situations - you draw a negative mask and the selection is gone: So my feature request is adding at least the brush tool to Premiere. I’ve had a lot of situations when the Object mask failed to deselect the needed parts of the image and and I had to make a combination of several object, rectangular and drawn masks thus wasting a ton of precious time in a simple footage.
Was going through bunch of photos I took at an event and using the tilde key (~) to check my picks for edit. Was more or less through all of the 1.2K pictures, when I accidentally hit ESC key located right above, and lost all progress. Is it really that hard to put in a "Do you really want to cancel?" pop up here? Lost like 30 minutes of work. This is UX 101 guys
Have documentation where insurance paid for Dr visit with dr Austin in Birmingham AL for my visit and my prescription at CVS in mccalla al Cheryl Reese
Great it is, the sequence index misses several essential features that the community has asked for ages.Show black frames or gaps (including the end ones, when you place the playhead at the end of the last element and hit O to select everything to the playhead - it always includes 1 black frame at the end):Show unfinalized effects like Warp Stabilizer not analyzed, an object mask added but not assigned to a single property or effect: Duplicates of the same effects on the same clip\adj layer\nest: Texts having gone past the text layer frame due to the font scale or type:Effects or transitions that have the worst impact on the software performance, i.e. make the timeline red (in huge timelines with many nests and multitrack layer constructions it is often really hard to tell what worsens the performance):
As is, the bar is almost ALWAYS in the way, covering the area I'm working in. It also has a nasty habit of disappearing after a while and refusing to reappear, or staying long enough to use (like when using generative features, where it will vanish after clicking the prompt area, making it impossible to click the generate button. As part of the window itself, it can always be present, and always out of the way.
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