Dear Adobe, it probably makes no sense to write, cause the problem persists for many years already, and users ask for that for many years, but if there is a slight chance, PLEASE, do aling mouse functionality across your product, so that the middle mouse would be hand/pan on the timeline in Premiere Pro.😟
Lightroom Desktop currently generates grid previews only for the images that become visible while scrolling. For photographers importing hundreds or thousands of RAW files, this makes the initial culling process unnecessarily slow because every new screen requires waiting for previews to render.Please add an option such as “Generate Grid Previews” for an entire album or folder. Lightroom could build these previews in the background (similar to how Lightroom Classic builds Standard or 1:1 previews) while the user continues working.Ideally:Generate previews for all images in an album or selection. Run as a low-priority background task. Show progress in the Activity panel. Pause automatically when the computer is busy. Store the previews in the existing cache.This would dramatically improve the culling experience for photographers working with large RAW files (e.g. Sony A1 II 50 MP images) and remove the constant waiting while scrolling through the grid.
When the save popup box appears in AE, and you click “don’t save” by accident, you lose your work. Having a failsafe would be much appreciated!
Premiere is killing my monitor. The white toolbar just burns into the screen and I hate it so much. Why don’t you just change the color to grey to match everything else? It’s just stupid, looks stupid, and causes problems like this. You did it in Photoshop, why is it such a hard thing to do? I’m seriously considering switching to Resolve just because of this. Even though I like everything else.
In the Print Module we should be able to "Print to TIFF", at 8-bit and 16-bit. We can already print to JPEG but many would prefer to print to TIFF.
I love shooting with color recipes on my Fuji camera, but sometimes I want to do a little more with the images that are not possible in Fuji’s own X Raw Studio software. If I want to use the look I’ve created as a starting point, I need to do those edits on a jpeg or tiff, but I would like to be able to have the editing latitude of a raw file. I think it would be great if Lightroom could apply a color profile based on the recipe settings embedded in the raw file metadata, similar to the Flexible Color Profile that Lightroom uses for Nikon. Currently for Fuji raw files, Lightroom, Lightroom Classic, and ACR only apply the (Adobe approximated) Fuji film sim. The other Fuji settings that should be considered and approximated for this profile are:highlight tone shadow tone color sharpness clarity grain effect mono wc and mono mg (for black & white sims) color chrome effect and color chrome blue effect - these may be difficult to do but would be great if possibleThe white balance setting and white balance fine tune shift are already applied to the raw file, so I don’t think anything would need to be done with that.There are also high ISO noise reduction and skin smoothing, but I don’t think those would need to be included.
add the location or name of the community in the email - clearly a test
After Effects currently shows where keyframes exist, but it does not clearly show where a property is actually changing over time.I would love an optional timeline display mode that visually indicates the spans between keyframes where a property’s value is actively animated.For example, if a Position property has four keyframes:Keyframe 1 to Keyframe 2: Position changes → show a colored bar or highlighted span. Keyframe 2 to Keyframe 3: Both keyframes have the same value → no bar. Keyframe 3 to Keyframe 4: Position changes again → show a bar.This would make it much easier to open a complex comp and quickly understand where animation is actually happening, versus where keyframes simply preserve a pose or were copied forward.A few useful details:The indicator could appear directly beneath or behind the property’s keyframes. Hold keyframes could use a different pattern or color than interpolated animation. It would be especially helpful if collapsed layers could show an aggregated indicator for any active animated property on that layer. A toggle in Timeline panel options would let users enable or disable it as needed.In complicated comps, timelines often contain many keyframes that do not represent visible motion or change. A visual “active animation range” display would make timing, troubleshooting, cleanup, and handoff much faster.
Problem:When working on long-form projects with high audio track counts, the timeline panel becomes cluttered. Scaling up audio tracks to see waveforms forces the video tracks completely off-screen, requiring constant vertical scrolling.Proposed Solution:Allow users to split the view of a single sequence timeline into two stacked or side-by-side workspace panels—similar to the historical Final Cut Pro 7 layout. One panel could be scrolled/scaled to focus exclusively on top video tracks, while the other panel focuses strictly on bottom audio tracks.Why native workarounds fail:Duplicating the sequence or loading a sequence into the Source Monitor breaks active editing flow. The timelines do not mirror dynamic cuts or clip movements in real-time, making a native, unified split-view necessary for complex audio-to-video alignment.
Please add mogrt batch export functionality to After Effects.I will try to describe the current exporting process the best I can.Click the "Export Motion Graphics Template..." button -> Being asked to Save the project -> Wait for After Effects to Save and apparently iterate through every comp for some reason -> Wait for project to open -> Write mogrt tags -> Wait for mogrt to saveDepending on the project, this process might take several minutes. Did you seriously expect your users that might need to export dozens of templates to do this manually? It literally means wasting hours just exporting files in one of the most tedious processes I've ever experienced. Has this not been considered or is it just too difficult to implement?
It would be nice to be able to select Raw pictures (such as .cr2, .cr3, etc) and convert them directly on the cloud to jpeg (or other). This enables photographers to save space, discard bad versions without fully deleting them and speeds up the process. Right now this is possible by exporting them to JPEG and importing them again but this process is really not convenient.
Changing / Enlarging UI Text (via AdobeCleanFontSize) has been removed. XXXX However, the 'AdobeCleanFontSize' has been removed. Can this be reinstated? Moderator note:Edited due to Adobe policy prohibiting discussion of use of the engineer's console on their forums.
I love the possibility to share Albums with public or private access. But, I’m missing more granular permission control in the Gallery feature.What I would like to be able to do is:Share individual albums publicly or to specific users using a link to the individual album. This exists today. Share individual photos to my portfolio. This also exists today Publish a variety of albums to a galley for an easy overview of what albums there is. This feature also exists today but totally ignores whatever access is configure on the individual albums. An album set to only be visible for my family members is accessible for anyone with a link to the gallery. What I’m requesting is some way of having different galleries, one with private family photo albums, and one with public access. Or, another option would be that the gallery only display the public albums and respects the permission invitations on the albums. Thank you for great products!
I would like to request an option in Preferences that allows users to specify a fixed default font size for new text layers.At present, even after resetting Preferences, the default font size may be automatically set to a large value such as “50.” This appears to be influenced by document resolution and zoom level rather than by a user-defined setting.While automatic sizing may be useful in some situations, it creates unnecessary repetitive adjustments for users who frequently create labels, annotations, figures, presentation graphics, or other text-heavy materials.For professional workflows, consistency and predictability are often more important than automatic optimization. It would be very helpful to have an option such as:Default Type Size: [ 16 pt ] Enable automatic default type size based on document resolution and zoomThis would allow users to choose between Adobe’s automatic behavior and a fixed personal default, improving efficiency without removing the current functionality.
For roughly the past 7–8 years, Adobe Audition has not received any major updates from Adobe itself. From AI features to editing assistance or additional tools that could make the editing workflow more productive and easier, there have been no significant improvements.There are several features that "we" as Audition users would like to see:AI integration, such as features from Adobe Podcast, AI Transcription that could be adopted from Premiere Pro, or other AI-driven features that could be integrated into Audition.Additional editing features that, in my opinion, already need to be added to help Audition users work more efficiently and productively.And "perhaps" Adobe Audition could take a more "serious" step into becoming a full-fledged music DAW platform, as some users are also hoping for this direction.If implementing all of this feels too heavy, the Adobe team could roll out these features gradually through the Beta version. I personally have two versions installed, the Final and the Beta, while waiting for new features to arrive in Adobe Audition.Hopefully, the Adobe Audition team will read and consider the ideas and complaints from Audition users, who feel that year after year there have been no major updates delivered to the user base.Thank you.
Bonjour, Je trouve vraiment dommage la suppression du modèle d'image de luciole 2 / Firefly 2 depuis la dernière mise à jour. Le rendu des images était bien spécifique au niveau du style, des textures, de la douceur des lumières. Le côté dessiné à la main ne se retrouve ni avec Firefly 3, ni avec Firefly 4, ni avec Firefly 4 ultra. Le résultat est totalement différent. J'avais commencé un projet avec Firefly 2 et il collait parfaitement à ce que je recherchais en qualité d'image. J'aurais trouvé judicieux de le laisser pour avoir un plus large panel de styles visuels. Mon projet tombe à l'eau à cause de ce changement. Pensez-vous à l'éventualité de le réintégrer ? Merci d'avance pour votre réponse. Bien à vous,Nora C
I dont know if there is a way already, but I would like to be able to turn on and off the edit on images in adobe bridge. When I have edited a photo in lightroom the Xmp file make it so that you can see the images edit in adobe bridge. This is very nice, and I like that it kind of fades in when I click the image (the edit fades in), but I haven’t found a way to turn the edit off and on again. It would be quite nice if you could add this. I would also like to request a better zoom function. I feel like the one we have now is quite bad, and it would probably be nicer to have the same zoom function as Lightroom. Click and drag, or even scrollwheel. I would just like more flexibility when I am looking into details in my image. its not quite big enough with the current zoom tool. Thank you!
Had a thought that Lightroom could create preset based on picture provided. Perhaps futuristic to ask, but it should be possible at some stage. example : picture from scanned Kodak pro image 100 could be analysed and preset created that could mimic the character and colours of Kodak film when applied to digital file
..it's the mode I need like 95% of the time - but for some reason it keeps reverting to "Background (default)" or "Transparent (default)" eventually when opening further images....making it necessary to manually choose "Content-Aware Fill" over and over again (I probably do this 300 times a month).. One instance where it changes away from the manually-set "Content-Aware Fill" is when I open a file with more than one layer (background layer being locked by default).The problem is the fill mode then changes to "Background (default) for all open files, and all files I open from there on out.The only "solution" to set it back to "Contant-Aware" is to quit PS, open it again without a file, set crop tool, set "Content-Aware Fill", close PS, open it again..Also it doesn't seem to make sense in the first place as to why the fill mode changes - when opening a single-layer file (with locked background) it will happily stay with "Content-Aware" - see attached screenshots.. This is really doing my head in.Can you please give users the option to set "Content-Aware Fill" as the (permanent) default? Thanks in advance! Ps: I'm using the most recent MacOS (15.7.1) and up-to-date Photoshop (27.8.0) - this problem exists for a while though, moths at least..
When drawing in Photoshop, a lot of times I like to use Lasso tools to add or to erase the subject; however, it takes so long to continuously lasso every single time when I want to same shapes consistently when using symmetry turns on.By adding extra features to lasso tool that can select shape shapes across with symmetry would definitely cut down the time of manual work of lasso.
As Adobe Boards evolve into large-scale infinite canvases for creative collaboration, we often struggle to relocate explorations, assets, feedback, or earlier iterations across sprawling boards. Introducing a persistent “Board Map Navigator” icon similar to Miro’s minimap experience would provide a real-time bird’s-eye view of the entire canvas, enabling users to instantly orient themselves, jump to specific sections, search and highlight content, track collaborators, and bookmark key exploration areas. This would dramatically improve discoverability, reduce navigation fatigue, streamline review workflows, and make large AI-driven creative boards significantly more intuitive and manageable for teams working across complex visual storytelling and ideation environments.
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