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When I open an Illustrator (.ai) file in After Effects (Import → Composition), any artwork that sits outside the composition frame is automatically turned transparent/alpha-clipped. I intentionally leave a margin around elements in Illustrator so that when they move the edges don’t show seams — but After Effects is making those outer areas transparent, which causes visible gaps during animation.Steps to reproduce Create artwork in Illustrator that extends beyond the intended comp size (leave a margin around the visible area). Save as .ai and import into After Effects as Composition. Open the composition: artwork outside the comp frame appears transparent (alpha) instead of preserved. Expected behaviorArtwork outside the comp bounds should remain opaque (preserved) so the margin stays visible when elements move.QuestionIs there a setting or recommended import workflow to prevent After Effects from automatically making those outer areas transparent? Any workaround or explanation of why AE clips those areas would be appreciated.
I tried a trial subscription in the hopes this would speed my workflow. Currently I edit real estate photos, then export, then edit in Nano Banana to replace skies or create twilight images. Then I download, rename and export the finished file.I was happy to see that I can now transfer the file to Firefly, and assumed I could return the edited file to LR Classic, as in PS. But, no I still have to download, rename and export. So, the time saving is negligible and the true cost is unknown because of the annoying credit system.WILL WE BE ABLE TO directly return edits to Lightroom?
I think it would be awesome if we could make adjustments in adobe inpaint and then using that same image we made those adjustments as a base in the text to image.
create audiobook with my novels.I would prefer the voiceover application to have a Turkish language option.
This tool will make it easier for us—students and teachers alike—to create interactive tests in PDF format.
plz allowing us to point to a custom script folder in the user documents rather than in the OS disk.i would like i would like to add script in my data document drive instead in the OS drive . `D:\Users\userName\Documents\Adobe` and hell no in this dangerous place `C:\Program Files\Adobe\Adobe Photoshop 2024\Presets\Scripts
Please revert the changes to the hand tool. It’s been a while since it was changed but I really miss the old one. Or make it a toggle feature. I don’t like how it scrolls with the box now and I liked how clean the original hand tool felt.
While working with archive, sometimes you need to use high resolution images, so as to be able to zoom it, move it, rotate it, and add some effects. Premiere seems to deal with this uneasily.
Lightroom is capable to convert JPGs into DNG. The DNG Converter unfortunately currently is not. Please add JPG support to the Adobe DNG Converter. Thank you very much for considering!
PLEASE! Revert ‘Apply Image’ to how it used to function… for example… Let the function open with the last used criteria applied, and where the function window was last placed! Its maddening that it opens with the default criteria appled and in the centre of the screen!
Is it possible to use the "Basic" Metadate fields "Creation Date" and "Modification Date" for sequences as well.I know sequences are not files (that live outside Premiere, are "just" linked to within Premiere and those date information is actually stored in these actual files and Premiere just reads and can then display that) - but maybe it could be done anyway, so that "inside the Premiere project" where those sequences/timelines exist only their creation and (last) modified date could be saved and the displayed as well...
Feature Request: Native OpenEXR Embedded Matte Support in After EffectsAs a VFX compositor, I'd love to see native support for embedding custom matte or utility channels directly into OpenEXR files exported from After Effects.Currently, we have to render separate files for the beauty pass, mattes, and other utility passes. This increases render time, storage usage, file management, and the chance of delivery errors.Supporting embedded matte channels in a single OpenEXR file would make After Effects much more efficient for professional VFX, DI (Digital Intermediate), and post-production pipelines. It would also improve compatibility with industry-standard OpenEXR workflows used in film, television, OTT, and commercial production.Benefits:Export beauty and embedded mattes in a single OpenEXR file. Reduce the number of rendered files. Simplify file management and deliveries. Improve compatibility with professional VFX and DI pipelines. Bring After Effects closer to industry-standard OpenEXR workflows.I believe this feature would be highly valuable for VFX artists and studios using After Effects in professional production environments.Thank you for considering this feature request.
We want to hear your ideas about how we can improve After Effects. Your opinion is very important to us and the ideas provided here regularly appear in future versions. When posting an idea, here are a couple of things to keep in mind: How will the idea help your workflow? You're the expert on your workflow, so tell us how your idea would improve your workflow. What problem are you having today that the idea could solve? That helps us understand your idea better. It also makes it easier for us to follow up with you to get more info on your idea. One idea per thread If you've got two (or more!) ideas, make each of them a separate thread. Doing this will allow others to vote on a single, specific idea and not confuse up-votes amongst a list of feature requests. Enlist support! If you feel strongly about a feature, and you know other people do too, get them to vote on it.
Auto spell-check only works for Basic text with no style modifications… please expand this to include text with appearance modifications – I always have a variety of text, and if some is highlighted as incorrect, but others in the same document are not, they can be missed. Please update the auto-spell-check to address all text.
Once the indexing has been completed and Lightroom CC has found all the potential faces, it would be nice to have the ability to add People Tags to pictures that were "missed" where no faces were recognized. The idea of People Tags is to be able to search for people and generate all potential results. Right now it's messy because you have to resort to keyword tags to identify people that were missed with facial recognition and makes searching and cataloging a tedious task.
Let us rename the RAW file in the smart object, that's it!I've spent hours chatting with adobe agents on this subject with no result on what should be a relatively simple function. The smart object is not linked so I should be able to name it whatever I want without consequences to my work and/or workflow. thanks
Two related pain points when culling large albums on Lightroom mobile:1) Accidental 0-star reset with no undo. While culling upward (e.g. bumping images from 2 to 3 stars), an unintended touch is occasionally registered as a tap that resets the image to 0 stars. Because 0 stars effectively hides the image back among thousands of unrated photos, it's easy to lose a shot and hard to recover it. On desktop I can simply undo, but mobile has no equivalent undo or course-correction for a rating reset. Suggested fix: add an undo gesture (or a brief "Undo" toast) after a rating change, and/or a confirmation step when a rating is reset to 0.2) Returning to grid loses your place. When I open an image full screen (loupe) from grid and then go back to grid, it doesn't return me to the image I was just viewing — I land somewhere else and have to scroll to find my spot again. In a large catalog that can mean scrolling through thousands of photos to get back to where I was, which badly breaks the culling flow. Suggested fix: when returning from full-screen/loupe to grid, keep the last-viewed image selected and scrolled into view so I resume exactly where I left off.Device/context: Lightroom mobile on iPhone, during high-volume culling sessions.
In many motion graphics occasions (games, scores, clocks), it is essential to have numbers to be monospaced, to avoid ‘m from jumping positions all the time.Please make this a feature for Text layers - a switch to make any text/font monospaced.
I have tried to just suck it up that Photoshop is flooded with AI features now, but the addition of Generative AI features in Camera Raw, and more specifically that they have taken a hierarchical priority in the panels, is infuriating and borderline insulting from a consumer standpoint. Adobe is diluting the individual purposes of each of their apps by pushing duplicate AI features across every interface they can find. ACR is for editing RAW photos. Photoshop is for manipulating them. Why can you not keep it this way? These features are also in Photoshop, which I often use after editing in ACR. They are literally being shoved in our faces in every corner of every Adobe application. I use these features in Photoshop. I do not want them in ACR, because they are used for completely different things. I now have to alter my workflow and take extra time to AVOID using them because they are intentionally put in the way. If you want to crop your photo you now have to click twice instead of once. This is literally the geometry panel, yet generative expand has been bumped to the top. Pretty easy to accidentally use credits through muscle memory if you ask me. If you want to use the remove tool (a feature I have only ever used in Photoshop, not ACR...), generative AI is on by default.
1° - Ao mover 2 ou mais textos não aparece a opção de mover todos de uma vez!2° Melhorem o fluxo de editar o texto (selecionar o texto + clicar 2X em As pra habilitar o editor). Porque simples duplo clique na camada já não habilita.3° Ao criar legendas e converter pra graficos, não vem em formato de ponto? Porque tem que vim no formato quadro limitador.ENWhen moving two or more text layers, there should be an option to move them all at once. Please improve the text editing workflow. Currently, you have to select the text layer and then double click the "As" icon to enable text editing. A simple double click directly on the text layer should activate the text editor. When creating captions and converting them to graphics, why are they converted using anchor points instead of a bounding box? They should be converted with a bounding box by default.
Hello Adobe Photoshop Team,I would like to report a regression affecting the Quick Mask and Generative Fill workflow used to create watercolour, oil-painting and other generative art effects.Adobe previously demonstrated this workflow using Quick Mask to create an intensity-based selection, followed by Generative Fill through the Contextual Task Bar:https://www.youtube.com/watch?v=4THG0IPx9hchttps://www.adobe.com/learn/photoshop/web/create-art-styles-generative-fillWorkflow that previously workedOpen an image in Photoshop. Enter Quick Mask Mode. Fill the mask with a controlled percentage of grey to determine the strength of the generative transformation. Exit Quick Mask Mode to convert the mask into a selection. Use Generative Fill from the Contextual Task Bar. Enter a prompt such as “watercolour painting” or “oil painting.”This produced highly useful painterly interpretations while retaining the composition and visual structure of the original image.Current problemIn newer Photoshop updates, the Generative Fill option no longer functions for this art effects after creating the selection through Quick Mask Mode.The technique worked successfully in earlier versions but has been unavailable or inconsistent for approximately two years.This appears to be a regression rather than simply a change in interface, because the Quick Mask method allowed something that ordinary selection tools do not: precise control over the intensity of the generative effect through tonal mask values.Expected behaviourAfter exiting Quick Mask Mode, Photoshop should recognise the resulting selection and make Generative Fill available through:the Contextual Task Bar; the Edit menu; and any relevant Generative Fill panel.Selections created through Quick Mask should behave consistently with selections created using the Marquee, Lasso, Object Selection and other selection tools.Why this mattersThis was an unusually creative and valuable workflow for artists, illustrators, designers, photographers and educators. It allowed users to combine their own image-making decisions with generative tools rather than replacing the entire image with an uncontrolled AI interpretation.The adjustable grey value acted almost like a creative 'strength' control, allowing the user to decide how closely the generated result followed the source image.I use Photoshop professionally and teach creative software to art and design students. This technique was particularly useful for demonstrating:tonal masks and selection logic non-destructive experimentation the relationship between source imagery and generative interpretation watercolour, oil, drawing and print-inspired visual treatments, and responsible use of generative AI within an artist-led workflowRequested fixPlease restore full compatibility between Quick Mask selections, the Contextual Task Bar and Generative Fill in both Photoshop and Photoshop Beta.It would also be helpful for Adobe to test this specific workflow across different mask densities—for example 20%, 40%, 60% and 80% grey—to ensure that tonal intensity continues to influence the generated result as expected.Feature request: Generative PaintingPlease also consider developing this workflow into a supported feature, perhaps called Generative Painting or Generative Style Transfer.A dedicated feature could include:a strength or source-image preservation slider watercolour, oil, gouache, ink, pen and ink, pencil drawing, charcoal drawing, scribble drawing, pastel, and printmaking presets control over brush size, pigment texture and level of abstraction the ability to use a greyscale mask to vary the effect locally reference-image support preservation of important edges and composition generation onto a separate, editable layer, and the option to combine painted and photographic areas within one imageThis would turn an inventive workaround into a properly supported artist-facing tool. Photoshop is most powerful when AI extends the artist’s hand rather than removing it from the picture.Thank you for investigating this regression and considering the feature request.Kind regards,Kavitha ParamasivanGraphic Designer, Artist and Creative Software Educator
Premiere Pro 2025 significantly lags behind other software, not even mentioning AI capabilities. To balance the scales, I believe Adobe should seriously consider adding truly useful and modern tools to Premiere Pro in the nearest future. The picturesque features shown at MAX 2025 looked impressive, but they were nothing more than prototypes and proof-of-concept demos. And the following tools and improvements are needed now. Some can even be added in the nearest weeks or months. 1. Fast and easy-to-use AI masking. I tested the beta version and it was genuinely good, but the way it is applied leaves much to be desired. There should be no need to create an empty tracking mask data and then apply it to effects. That workflow is outdated. Any effect — native or third-party — should have a dedicated mask tracking button.2. Proper native tracking. Premiere Pro is extremely weak in terms of tracking. Every modern video editing software has a fast, native tracking engine. Tracking in Premiere Pro feels primitive. A good native (not BorisFX-based, wink) AI-powered camera, planar, mesh, and point tracker should be added to Premiere Pro too. It should support simple “track to object” functionality — fast, one-click, with advanced options if needed. Tracking should also support "previous-frame" analysis to track objects that leave the frame.3. Native restoration tools. Premiere Pro should have long included a set of image restoration tools: denoise, deband, deflicker, deshake, and tools for removing fixed and dynamic dirt, scratches, and dust. It also needs a fast object removal tool with tracking and dynamic background reconstruction. The Content-Aware Fill in After Effects is frankly terrible, and users should not have to rely entirely on third-party plugins.4. AI-based facial and body refinement. With fast mask tracking now available, Premiere Pro should also include native tools for face and body isolation and refinement as a separate feature. There's a lot of software that can do a digital make up and adjust characters' body.5. A depth map generator. It is frankly embarrassing that even After Effects lacks a native depth map generator. Premiere Pro needs this even more, as it is the actual NLE which would definitely benefit from using such a tool.6. New, modern GPU-accelerated effects and transitions. “New” should mean original — not effects acquired from companies that have been selling the same plugin packs for over a decade.7. Simultaneous stabilization and time remapping without nesting.8. Full unnesting and Render and Replace improvements. Premiere Pro should be able to unnest and render and replace any media, including nests and multicam clips, with the ability to revert at any time. Render-and-replace should bake in effects, transitions, and alpha channels by default, to lift the need to do this manually every time from the user's shoulders.9. A complete redesign of time remapping. The current implementation is awful. If Adobe doesn’t know how to improve it — just copy the After Effects approach.10. Linked audio clips should behave like video clips when time remapping is applied. They should also be time remapped correspondingly!11. Better timeline organization tools. Shifting clips on different tracks with a delay and clip swapping via hotkeys should be added, both horizontally and vertically.12. Converting nested sequences to multicams and vice versa.13. Togglable audio/video switching modes for already-created multicams, allowing users to change how camera angles and\or audio tracks are switched AFTER the multicam has been created.14. A proper audio noise cancellation tool. Speech Enhance is unusable and somehow worse than Adobe's own Podcast 2.0.15. Improved markers. Markers should be movable directly on clips without opening them in the Source Monitor. The marker list should be customizable: resizable rows, optional previews, full marker name visibility, and a proper custom color picker (the default eight colors are insufficient).16. Frame interpolation from After Effects (Pixel Motion). It produces much better results than Premiere Pro Optical Flow.17. Detail-preserving upscaling from After Effects or another high-quality upscaler, AI-based or not.18. Animation for all available (ALL!) text parameters in both Effect Controls and Properties panels.19. Real-time multicam cutting mode so cuts appear during playback, not after playback stops.20. Intelligent multicam auto-cutting based on camera angles, facial recognition, and motion/activity analysis. The current level of technology premits that.21. Advanced AI stabilization with edge reconstruction when cropping.22. Native edge mirroring and duplicating for the Transform effect.23. Ability to place effects before the Motion group (or make Transform the default replacement for Motion) in the Effects controls panel so that motion does not conflict with some effects.24. Vertical track reposition (move track up\down)25. Basic subtitle animation tools (letters, words, lines) and drag-and-drop motion presets affecting entire subtitle tracks.26. Transitions applied to the cut nearest to playhead via double-click. Somehow effects can be applied with a double-click and transitions can't.27. Face recognition based via smart search, with grouping and naming capabilities to quickly group similar results and find them in the footage faster.28. Program Monitor group clip viewing mode to review and cut all imported or selected clips without the need to create a second sequence and stack the sequences one above another.29. Decoding entirely on the GPU and iGPU, leaving CPU resources for computation. Add more codec flavours based on the CPU and GPU codec support.30. Make masks move, add points and resize the same way it's implemented in After Effects.31. Effect controls directly in the Program Monitor, like the current Transform and Crop, with APIs for third-party developers to build visually controllable tools.32. Audio leveler and de-bleed tools (based on denoise, gate or ducking), supporting multi-track interaction - to be able to target several tracks between each other.33. Complete Morph Cut redesign. AI-based, object-aware, mask-driven morphing without the current tedious scene analysis.34. Stabilization bake/freeze option so it does not reset on every change.35. AE-style effect curves in the Effect Controls panel.36. Send/bus-routing in the Audio Mixer, similar to Audition.37. UI space optimization with better button placement (especially in the Program Monitor and Timeline) and a toggleable maximize mode that hides top and bottom Premiere Pro bars.38. Real-time previews for effects and transitions upon hover or click, with thumbnails in the Effects panel, and support for third-party preview implementations.39. Drag-and-drop organization of templates and folders in the Graphics Templates panel.40. Toggleable continuous timeline playback mode where moving the playhead does not stop playback.41. Playback autoscroling improvements, allowing playback to start from any fixed playhead position and not in the center only.42. Disable or toggle automatic jumps to the start of extended markers when clicking them.43. Clear, informative and precise Error logs and Warning reports before render. Premiere Pro should show exact timecodes and clip names for unlinked graphics (the "missing" messanges), clips, or effects with warnings (Morph Cut, Warp Stabilizer), and avoid showing warnings for items NOT present on the timeline. The same accounts for render errors - a user must know the exact reason why an error happen and not just "renderer error at 01:10:21:08, Selector: 03, Error code: 9".44. Make audio waveforms for multicams VISIBLE! Always. Not when Premiere Pro wants it.45. Add a dedicated "Output LUT" slot at the very end of the Lumetri Color processing chain (after Vignette).46. Add a Watchfolder function for an automatic real-time syncing of the contents in an imported folder.47. Add an ability to save audio mixer plugin chain as presets.48. Add a better support for PSD and vector files from Photoshop and Illustrator to be able to edit text from there. Plus vectors actually be vectors, not rasters, in Premiere Pro.49. Unify all the possible hotkeys, behaviours and tools to act the same way in AE and Pr.50. Motion blur as a SYSTEM SETTING, not just an option in transform.51. Fx console for searching effects, transitions, generators and functiuons. 52. A reworked Project Manager which actually works, always, with no errors, with an intuitive operation. With a richer functionality similar to Plume Pack.53. An ability to save downgraded projects like in AE. Without the need to unzip and change XMLs or use third-party project downgrading sites.--------------------------------------------With great respect and hope for software improvement,AndyTheGreat
Its a good idea to in generative fill have a option to upload an image to take element from one image and add to another or composite a image or Ai can look for create similar thing on current image from the uploaded image
Prezados Desenvolvedores,Gostaria de compartilhar uma ideia que considero de grande relevância para o aprimoramento da vossa plataforma. Recentemente, tive a oportunidade de observar as capacidades oferecidas pela tecnologia de processamento de imagem (Adobe Firefly), e acredito que podem elevar significativamente a experiência dos usuários ao implementar opções avançadas de edição de imagem impulsionadas pela IA.Haveria a possibilidade de fazer upload de imagens e, com base nessas imagens, utilizar a inteligência artificial para realizar a criação de cartoons, caricaturas, correção de fotos embaçadas, remover ruídos, figuras semelhantes e até mesmo realizar uma clonagem de fotos, tudo isso com uma qualidade excepcionalmente alta e uma IA mais eficiente em relação à fidelização da imagem.Tendo em mente a excelência associada ao nome da ADOBE, imagino um recurso que se destaque pelo seu nível superior de qualidade. Um exemplo que me inspira é o trabalho feito pela Adobe, reconhecido por sua expertise em edição de imagem. No entanto, acredito que podem ir além, oferecendo um processo mais preciso e uma maior fidelidade à imagem original.Entendo que a implementação de um recurso tão avançado pode demandar recursos substanciais em termos de desenvolvimento e pesquisa. Contudo, creio que os benefícios para os usuários e a posição de destaque que poderíam alcançar no mercado justificam plenamente esse investimento.Agradeço desde já por considerarem esta sugestão. Estou à disposição para discutir mais detalhes e trocar ideias sobre como poderíam transformar essa visão em realidade. Aguardo ansiosamente suas considerações sobre a possibilidade de incorporar esses recursos inovadores ao Adobe Firefly.Atenciosamente,William
I lose too many credits doing trial and error. The monthly cost should be based on downloads
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