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Bad update to spot healing brush....and dump "elevator music when on hold"Open for Voting

I hope this gets red by the appropriate parties. I recently updated my Mac OS and PS...Only to find that .Adobe decided to change the color of the spot healing brush from transparent pink to a dark grey. After spending an hour on the phone with 2 of your advisors trying to change it back.....they both discovered that's not possible....I was told this was a decision made by your "Design Team".....you have taken a near perfect tool and made it harder to use.....when it was transparent pink you could clearly see the intersection of the brush and the object edge......if you are working a dark grey to black the brush disappears......now well thought out!!....... Clearly indicates that the person responsible for making this change is not a creative more like some sort of ridiculous, corporate decision or something that happened as a result of changing something else you should change it back. This is clearly a mistake on your part.   Next issue please this photos of the 32nd Musical elevator, music, jazz garbage that you have people listening to when they're on hold people would rather listen to silence listen to 30 seconds of bad music repeated every 30 seconds with an apology of someone will be with you momentarily or whatever it is that you're saying it's not professional it's not well thought out and it's quite irritating to have to listen to if you're on hold for 30 minutes at a time even 15 minutes twice every minute just do the math stop torturing us....... It seems like another bad corporate decision Western culture does not appreciate bad music repeated over and over and over again it's like having a dentist drill drill through your skull. You're very concerned with customer feedback for you to give a better customer experience and yet you overlook things like elevator music and I've written this repeatedly and mentioned it to your advisers and it's gone ignored so someone at the corporate level thinks this is a good idea it's a terrible idea. Tell the person that made that decision to wake up and smell the roses.

Make Photoshop 24.4.1 available in ACC (latest version to support DirectX feature level 11)Open for Voting

Hi, 1. Description Adobe Creative Cloud (ACC) in the "Other versions" list for Photoshop does not include the version 24.4.1. The closest one ACC is providing is version 22.2.  As you know, many PCs are staying on Windows 10 thanks to Extended Security Updates (ESU): - 1 year till October 2026 for consumer ESU ; - 3 years till October 2028 for commercial ESU. In addition, some Windows 10 editions such as Windows 10 IoT Enterprise LTSC 2021 edition are able to get updates till Jan, 2032. It also means these PCs are keeping the same hardware for a long time including a graphics card that is not compatible with DirectX feature level 12, only with DirectX feature level 11.Besides the relative AI bandwagon, the incentive to renew hardware seems currently less important for many professional and retail clients. It is known within the Adobe Community that the latest Photoshop version to support DirectX feature level 11 and that does not require feature level 12 is Photoshop 24.4.1. 2. Why is this valuable to Adobe clients Therefore, it would be great to make it directly available within ACC to Adobe clients in order for them not to stay at Photoshop 22.2 but have at least a more updated Photoshop which is version 24.4.1. You kept Photoshop 22.2 within ACC in order for Adobe clients to still benefit from the Photoshop’s 3D features. I also believe it is important to make available version 24.4.1 within ACC in order for them to still benefit from the latest Photoshop they could technically use with their graphics card before the versions that require DirectX feature level 12. Thanks,

Remove Iray Emissive capOpen for Voting

Emissive in Iray caps out and is not nearly strong enough for certain renders.You can normally only get the strength to "1" using the sliders in Iray mode.It is possible to get the emissive to "100" if you set it in painter mode and then swap to Iray mode.(this is a bug, but it works in my favor)However, even the "100" is a hard cap that sometimes isn't enough.I'm currently trying to render a car, where the headlights needs to be much brighter than what the emissive setting allows me to set.Since real headlights have pretty small but very strong lightbulbs, they use reflectors to boost that light even more to get sufficient brightness.  Even with a reflector being 100% metallic, with 0 roughness, the bounce light is not strong enough whit the emissive getting capped at "100" in painters Iray mode. I also use emissive materials to create bounce lighting in some cases. I can add a surface and add an emissive material to it to simulate light sources in my scene. If I get more control over my emissive materials the Iray mode would be much more powerful and I could use it for many more of my renders.One approach could also be to get a separate exposure for the environment and the camera. That way I could lower the exposure of the environment, but boost the exposure in camera, to balance brightness between the HDRI and the brightest emissive source without getting a very dark image that just looks underexposed, instead of overexposed lightbulbs.(EV on HDRI lowered to -2.5)Looking forward to your reply, solution, or potential work around.Cheers,-Ludde-Ludde

Request for Timeline Editing API Support (Clip Track Movement / Flattening)Open for Voting

 Hello Adobe Team,I am currently exploring automation and plugin development for Adobe Premiere Pro. I’m trying to create a tool that automatically consolidates a sequence with multiple video tracks into a single track — similar to manually dragging clips from V5 → V4 → V3 → V2 → V1 while preserving their timing and allowing natural overwrite behavior.In older versions of Premiere, this could be done through the QE API using functions like:  app.enableQE(); clip.moveToTrack(videoIndex, audioIndex);  However, in current Premiere Pro builds (2023–2025), this function appears to exist in the QE object model but is not operational. Calling it returns either:"not enough parameters""illegal parameter type"or simply does nothingWe tested multiple calling patterns, including:  moveToTrack(int); moveToTrack(int, int); moveToTrack(int, int, boolean); moveToTrack(trackObject, flags); None resulted in track movement.We also attempted:ExtendScript / JSX scriptingCEP Panel communicationUXP callsPremiere scripting DOMReflection via clip.reflect.methodsKeyboard Shortcut controlQE test loops to check argument signaturesThe results indicate that:There is no current API method (DOM, QE, CEP, or UXP) that can move an existing clip vertically between tracks.Premiere Pro no longer includes a keyboard mappable command like Move Clip Up/Down Between Tracks, meaning even UI automation cannot rely on a universal shortcut.The function in QE appears to be stubbed or deprecated without a documented replacement.This means that currently there is no programmatic way to manipulate clip positions across video tracks while preserving edit timing, which blocks automation use cases such as:Track consolidationCleanup workflowsSmart flatteningAI-guided editingBulk sequence organization toolsRequestIs there:An updated replacement for moveToTrack() in newer Premiere builds?An internal API, flag, or method allowing non-destructive clip relocation across tracks?Plans to expose timeline editing capabilities in UXP or a future scripting API?Documentation or guidance for modifying sequence clip positions programmatically?This functionality would unlock a large number of professional workflow tools and automation pipelines, especially for:Editing at scaleAI-assisted editingSocial media batch workflowsMulti-camera editingTimeline classification or cleanupThank you for your time. Any clarification or future roadmap information would be appreciated.Best regards

edwinnaar
edwinnaarParticipating Frequently

FEATURE REQUEST: Collaborate a Premiere Production like a Team ProjectOpen for Voting

In a Premiere Team project I can invite other editors from all over the world.It would be nice to have a Premiere Production have the same collaboration benefits, where the Production project is saved in Adobe Cloud, and synced with invited users. But since I currently work on a massive project I organize the project in a Premiere Production project.For myself, that works out very well.At the moment I need some other people to work on the project as well. In a Premiere Production that's not (yet) possible. It is, but I read that it's not too stable. I would simply copy the entire project to a large (transport) drive and ship it to the collaborator.The collaborator will just copy the files to his system.We set up some kind of sync process to sync new files in the future.I would add the collaborator to my Production Project.The collaborator will probably have to re-link some files, to have his projects refer to his local files, while my file references are referencing my local files. From there on, things will work the same way as if another editor works on a Prodcution Project on my shared network. A work around could be to add some sort of VPN. But in my experience that's quite a hassle to get it working right. Especially when the people involved are not IT nerds.There could also be a security risk, when using a VPN. I would not like every collaborator to just connect to my network.