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When are you going to bring AI landscape mask for Lightroom iPad OS like the desktop version. Doesn't seem like a hard thing to do considering there is already "Subject" "Sky" and "Background"!!
The field "File Size in MB" is listed in the Metadata of each file/photo. It would be a functional help if this field should also be available in the Filters visible in Organizer. This funtion would enable user to filter and sort all files/photos which have a material size. After visualization user can conclude to remove (after backup to external HD) these large files in order to save some space on internal HD. Actually this can only be done in Explorer and search afterwards in LR file by file. It would be a great time saving procedure.
The ProblemWhen using Camera Raw as a filter on individual layers within a composition, the adjustment window operates in isolation. Unlike other Photoshop adjustments that show real-time changes in the main canvas, Camera Raw only displays the preview within its own dialog window. The effects only become visible in the actual composition after clicking "OK" – making it impossible to evaluate color grading decisions in context with other layers.The Use CaseCamera Raw has evolved into one of the most powerful and intuitive color grading tools available, with a workflow that mirrors professional applications like DaVinci Resolve and After Effects. Many of us naturally gravitate toward it for layer-level color correction because of its comprehensive controls and familiar interface.However, when working on complex compositions with multiple layers, context is everything. A color adjustment that looks perfect in isolation might clash with other elements, create unwanted contrast issues, or simply not serve the overall composition. Currently, the only way to check this is through a frustrating cycle of:Make adjustments in Camera RawClick OKEvaluate in compositionRe-open Camera Raw filterRepeatThe SolutionAdd a "Preview in Document" toggle (similar to other Photoshop effects) that would:Allow the Camera Raw window to remain open while showing live updates in the main compositionEnable dual-monitor workflows, with Camera Raw controls on one screen and the full composition visible on anotherMaintain the existing preview within the Camera Raw window for detailed adjustmentsThis would bring Camera Raw's filter application in line with the real-time feedback users expect from modern non-destructive workflows, making it truly viable as a professional color grading tool for layer-based compositing.This simple toggle would transform Camera Raw from a powerful but isolated adjustment tool into an integrated part of the composition workflow.
In PPro, a blank timeline is transparent, not black video. There's a weird thing with how alpha channels are dissolved in and out in PPro that creates this weird problem that we have been suffering with for YEARS. Try this experiment:- Blank timeline- Add a piece of video- Add one-second dissolves to heads and tails- Notice how it fades in and out smoothly at the very head and very tail of the clip?- Now add another shorter layer of video above the first, so that layer one fades in first and also continues past at the end.- Now add a dissolve transition to the head and tail of the video on layer two (to essentially create a transition from layer one video to layer two)- Notice how at the very head of video two, the second video layer appears to "pop" in, rather than gradually appears? (Same thing happens with title overlays)- Now compare this... On layer two, rather than adding the one-second dissolve transitions, go back and do a one-second opacity curve, where at the head, you do an "ease out" to the 0% (transparent) keyframe, and do an "ease in" to the 100% (opaque) keyframe (making a bezier curve). (and do the direct opposite at the tail to dissolve out).- Now, watch the transition. Notice how the video dissolve eases in at the very head, instead of that initial "pop" in, and at the end, it gently dissolves back to track one with no dumping at the very tail? This same thing happens with titles. If you place dissolves on a title layer on a blank timeline, the fades look great. However, when you add dissolve transitions to a title layer that is on top of video, the head appears to "pop" in and the very tail "dumps." The question is: Can we finally get a shaped-linear (bezier) curved dissolve transition under the dissolve transition menu, that basically does that bezier opacity curve that I described above and have that as an alternative to the basic "linear" dissolve? I will gladly share a video example. Can we post YouTube links to the video? Thanks!
Hello Adobe Photoshop Team,I hope you're doing well. I’d like to propose a feature that many designers (me included) would find extremely helpful:💡 Feature Idea: “Unrasterize / Text Recovery”Summary:Allow Photoshop to detect rasterized text (pixels) and convert it back into an editable text layer (with font, size, style attributes preserved as much as possible).Why it helps:Saves tons of time when working with older files or client deliverables where text was rasterized.Reduces need to manually retype and match fonts, styles, and layouts.Especially helpful for large projects, templates, and collaborative workflows.How it might work (concept):Photoshop performs a pixel-analysis scan to detect character shapes, spacing, and baseline.Offers possible font matches (using built-in “Match Font”-style machine learning).Presents a preview of detected text in editable format, which user can accept or correct.Converts the raster layer into a text layer (or layered text objects) in the original position/style.Bonus enhancements:Highlight areas it couldn’t detect confidently (user fills in).Support for multiple font styles, weights, colors in one raster block.Integration with cloud/AI services to improve recognition over time.Thanks for considering this — I believe it would be a game-changer for many users. 🙌Best,Xeno.
Hello! Our university have over 15,000 active students, and it would be more effective to avoid sending notifications to everyone when we share a template or branding. This type of sharing is not critical, and we want to prevent confusion or panic when multiple notifications ping on everyone’s phones at the same time. Therefore, having the silent share option, if available, would be a helpful solution in this scenario. Thank you.
I would think it a common request: since there are so many output options (Firefly, Imagen, ChatGPT), why not offer the option of producing one solution in all the formats so the user can pick the best to start with.
Bonjour, il serait très intéressant d'afficher le graphique sur lequel nous travaillons sur un autre écran.Particulièrement lors de la création de fichiers vidéo, nous aurions un aperçu en temps réel du rendu sur un écran tiers, un peu comme dans Premiere Pro.
Please restore of per-frame disposal (restore-to-background) option in Photoshop GIF export Adobe Photoshop Product Team:I write as a long-time user and (sometimes frustrated) creative professional. I want to express how deeply disappointed I am in the removal (or concealment) of the per-frame disposal / “restore to background” option from Photoshop’s GIF export logic. That feature was previously a one-click fix that prevented ghost trails and residual outlines when animating changing shapes. Because the disposal option is no longer exposed, users doing change-over-time visualizations are forced into extremely cumbersome workarounds—masking, external converters, scripting, or losing transparency altogether. This is not acceptable for professional-level workflows. Here’s why restoring that control is critical: Precision workflows require clean frame swaps. When a feature expands or contracts across frames, you must prevent lingering artifacts from prior frames. Without disposal control, Photoshop’s “optimization” or automatic blending leaves ghost outlines or flicker.Transparency support is essential. Many use cases demand that only the feature be visible over an underlying map or base image. That requires robust transparent GIF export with correct disposal behavior—not half-baked transparency that blends bad edges.Efficiency & usability. Designers and analysts should not have to resort to external tools, command-line scripts, or multi-step pipelines just to get a “clean” animated GIF. This should be a core feature of Photoshop’s frame animation export.Backward compatibility & user expectations. Users accustomed to earlier versions expect that level of control. Removing or hiding it degrades Photoshop’s value for many technical, scientific, and design use cases. I respectfully request, in your next version(s) of Photoshop (including the Beta channel): Reintroduce a visible per-frame disposal / restore option in the Frame Animation Timeline (or in GIF export settings)Ensure it works reliably with transparent frames and changing-mask shapesProvide proper documentation & UI cues so users know how to enable itConsider offering a “legacy disposal mode / explicit frame replacement” toggle in the Save for Web / Export dialog I believe many users would benefit from this restoration, especially those using Photoshop for visualization, mapping, environmental data, UI prototyping, or technical animation work. Thank you for your time, and I hope you’ll seriously consider restoring that capability. I’m available for clarification or feedback if that helps.
When filler words are searched for, I try to correct what has been mistranscribed. Sometimes, certain words are perceived as filler words, even if they are not filler words themselves. For example, names or normal adjectives are often considered filler words in certain dialects of English if they do not conform to whatever limited English it has been trained on.
The Disk Cache settings recommend that a separate drive is selected as the location to store cache files. It might be helpful to be able to set a primary location and maximum cache size for an external/secondary drive, and a backup location/size for when the primary drive is not available. This way, if you forget your external drive when working out of home, for instance, the cache is still handled in a predictable manner.
I have to redo the settings the same way every time I load up Firefly since they are the same for the given project. Remembering the last used settings seems to make more sense than reseting to default settings every time Firefly is loaded up.
First off, I’m liking the keyframe colors way more than I expected, especially in my more complex projects with lots of controllers. But using it can feel like a chore. Specifically, when using the Select Keyframe Label Group, it reveals far more properties than expected. I attached a screen recording. I start with a mostly collapsed timeline, then pick the context menu to select the matching keyframe colors and suddenly a huge chunk of my timeline is twirled open; I then go on to hide the additional properties so I can focus on just the keys I wanted. I would love it if this only revealed the matching color, so I could see all/more of them on screen at once. While I don’t exactly think this is a bug, it’s certianly not what I expected to happen. Thanks!
PLEASE!! I have HOURS of captions and transcripts to go through each week, in Premiere and my computer screens are set for a high resolution for more effective editing. This has the unfortunae effect of text sizes visible in Transcription and Captions panels being very small--even with slider all the way up. Can you please allow even larger font sizes to be available?
In all Adobe Apps, we can find files by using the unified file brower provided by the OS (MacOS in my case).But in Premiere we have to use a dedicated ui for importing files, which, for me, is much less effective than the brower I am used to. (E.g. in MacOS, I can type a letter and the selector jumps to the files starting with that letter)Why not give the user the choice to use the OS filebrowser?
The Curve Adjustment properties dialog can be scaled somewhat, but it is still tiny on larger screens running a higher resolution. In Gimp, PhotoLine, and other image editors the curves graph can be scaled up to the actual screen size, if needed.Please make the curves graph more responsive in regards to dialog scaling. The graph is so small, making it harder than it needs to be to work with, and very difficult for precise adjustments.
I would like to be able to upload several style reference images and apply them to my prompt at a time. I also would like be able to customize/organize the composition and style reference panel, like adding folders AND keep or remove once uploaded images (so that I dont have to upload them every time). I also need the possibility to add Object references (like product images, maybe even in 3D) and use them unchanged (except for lightning/colors and perspective) to a certain degree in my new images.
I would love to have my work from previous session to be displayed at the start page of firefly.
The Clone brush in AE should automatically reveal only the clone brush strokes in the comp window when Paint on Transparent is active but still have the layer source visible in teh layer window. Currently it completely disappears in the both windows and you need to manually select another duplicated layer as the clone source for EVERY single clone brush stroke. While you can set the source in the Paint panel, you can't paint with the Paint on transparent active as the Layer window is fully black. The current method is cumbersome and completely counter-intuitive.
I frequently need to show/hide layers based on the Layer Filter. Today this workflow cannot be automated:Actions do not record the Layer Filter state (Color/Kind/Name).Scripting (DOM/Action Manager) does not provide a reliable way to read a layer’s label color or to set/read the Layer Filter programmatically.Tried stringIDToTypeID('color'), charIDToTypeID('Clr '), and variants like layerSheetColor / sheetColor; many builds return nothing, so a script can’t detect that a layer is “Green”.This would drastically speed large design/retouch pipelines (hundreds of layers). Typical need:Thank you!
I am adamant about keeping my compflow in my projects going left to right so my Flowchart and Mini-Flowchart views match my open Timeline Panels and I would love to borrow Chrome's "Close other tabs to the right" option in After Effects. I included a screenshot of the option from Chrome and where I'd love to see it be added in After Effects. Bonus points if it could be mapped to a keyboard shortcut?
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