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See this thread in the regular forum: Users report transcription failure resulting in “No dialogue found” for files that appear to have dialogue and that work in earlier versions. Some users report this as early as 26.0.0. More users report this coinciding with upgrading to 26.2.2. I have wondered if some of the users with problems are using non-English installations or non-English files. I took special note of @mattchristensen1’s post that raised the question of the large downloads involved in the extensive updates to transcription in 26.2.0. The user I link to reports that this also occurs in the Beta 26.3.0, build unspecified. I am posting this bug report for him, because I realized that the new forum makes posting a Beta bug report with the system information less straight-forward than previously. I believe the results reported are not in themselves diagnostic. Transcriptions may fail after starting for multiple reasons, and when they do, they often show no transcription and a N
System Information:Hardware: Apple Mac Studio OS: macOS Display: ASUS XG49V (Ultrawide 32:9 Aspect Ratio / Native Resolution 3840x1080) Application: Premiere Pro Beta (New Color Mode Workspace)Description of the Issue:While utilizing the brand-new Color Mode workspace, the real-time scope overlays (both the Transient HUD scopes that appear when dragging/holding the Color & Contrast dials, as well as the new permanent "Video Scopes" panel) are rendered with heavy, blocky pixelation. The pixel-precision is so low that the waveform information is entirely unreadable for fine color adjustments.Steps Taken to Troubleshoot (Unsuccessful):Verified that the Program Monitor playback and paused resolutions are explicitly set to "Full." (Note: Lowering the resolution selection to 1/2 or 1/4 results in no discernable difference in the monitor preview canvas quality, indicating a potential UI texture-buffer refresh mismatch). Enabled "High Quality Playback" via the Program Monitor settings. Att
Bug: Color Mode HUD waveform scope renders at extremely low point density — M5 MacBook ProSystem: M5 MacBook Pro, macOS Tahoe 26.4.1, Premiere (beta) 26.5.0 build 3, Metal GPU rendererWhat's happening: The HUD waveform scope that appears when clicking a Color Mode control (e.g. Contrast) renders at roughly 2–5% of expected point density. Instead of continuous waveform traces, the scope displays a sparse scatter of individual pixels — the underlying data appears correct (sky at ~60–75%, shadows near 0–20%) but the rendering is so low-density the scope is unreadable as a grading tool. The scope background and panel dimensions render at full resolution; only the waveform trace points are affected.Expected behavior: Dense, continuous waveform traces as shown in Adobe's own Color Mode tutorial videos and documentation screenshots.Reproduction: Open any clip in Color Mode → click any control that triggers the HUD waveform (Contrast, Exposure, etc.) → HUD appears with sparse pixelated trace i
Hi, I’m on the latest Premiere Pro Beta. The Object Mask Tool works and tracking is fine, but there’s no highlight/outline showing in the Program Monitor. Overlays are enabled and I tried resetting preferences, but nothing helps. Is this a known bug or is there a workaround?Thanks.
How many cycles is it going to take to finally fix this bug.Broken since 2025Moving the WAB in the source monitor on a 2160P clip opened from the timeline in a 1080p setting26.5.0.3
I’m currently grading a full length feature film with the new Color Mode and something that would be VERY helpful is to be able to select a group of clips and then label and save that selection to be able to revisit and tweak later. Let’s say I go through my whole timeline and select specific clips (all CU interview of 1 person) create the grade it looks good, but then i go and watch it in the full context of the film and i want to tweak it slightly well now i have to go through and re selected every single clip individually in order to do that. Would be really nice to be able to just have that selection saved to quickly reference again.
Finding the shortcuts to switch between exposure zones a bit clunky. Could you add Previous/Next Zone shortcuts as well as individual ones? Much easier imho –exactly the same as the ones you’ve added to cycle through the Color Hues. Also, it’d be great if shortcuts for Color&Contrast, Color Shift, Detail also worked in Styles.
PP 26.3.0 Beta Build 71Was switching around color spaces (to Rec2100 PQ)As I push up the exposure the HUD scope changes but the Window | Video Scope (waveform & vector scope), that was formerly responsive, remains unchanged Quit & restart results in no scopes at all visible in that pane.
Clicking the comparison button in color mode (under program monitor) hard crashes PP 26.3 BETA build 71. Repeatable.Had to access the comparison button by clicking the + button and then removing items until it appeared.
I was working in color mode just fine yesterday on version 26.2. Now after updating to 26.3 every time i move a setting in the new color panel, inside the color mode tab, it just crashes. Note: it doesn't crash in the edit tab, when selecting a clip and adjusting color through the sliders.
In the beta version of Premiere Pro, while using the new Color Mode, I noticed that the color shifts / changes when the clip is playing. When it’s paused, I grade the clip to where I want it to be. Then when it starts playing, it shifts. Watching the scopes, I see it change. The clip is relatively static where the background doesn’t change. But the scope shows it changing. And the color temperature and or tint shifts which is noticeable. This is a bug in my opinion as the clip’s grading should not change between being paused and playing.
when I select clips to edit that have lumetri effects on them, the program shuts down
Steps to reproduce: 1.Create a project WITHOUT captions.Export project to AME with Captions turned off in settings Open settings for the export within AMEResult: ...New “Captions” checkbox at top of list is turned on.Expected: ...Captions to NOT be turned on in AME since they were not enabled in Premier. System info Application: Premiere Pro (Beta) v26.3.0.71 OS: Windows v10.0.26200, RAM: 63.79 GB GB, CPUs (logical): 16
Just when I thought i was going to be able to complete a project with no bugs, one turned up.Writing the mix on an audio track is not being recorded. At least it’s not playing back. I can’t find where to switch the viewport to track keyframes instead of clip keyframes.Enable Track Mixer Put it in Write mode Start the timeline and adjust levels (fade in or out) Stop and play backResult:Track fader stays where it was last left Track fader does not move during playback No difference if you try to Touch the volume. System info Application: Premiere Pro (Beta) v26.3.0.71 OS: Windows v10.0.26200, RAM: 63.79 GB GB, CPUs (logical): 16
Beta versions of Premiere, After Effects, and Media Encoder now provide better support for ProRes RAW. Via Effects Control > Source, it is now possible to modify the attributes of a ProRes RAW file, including:Processing method ISO Exposure bias Color temperature Raw to log optionsProRes RAW support is available for all ProRes RAW files, including those recorded in-camera (e.g., iPhone 17 Pro, Nikon ZR), and those recorded by external recording devices from Atomos (e.g., Ninja, Shogun).ProRes RAW plugins are supported. These plug-ins enable camera manufacturers to provide their own custom processing pipeline, bypassing the default ProRes RAW pipeline. Two ProRes RAW plug-ins are currently available: iPhone 17 Pro - Pro Video Formats 3.1 (macOS only) Canon (ProRes RAW recorded using Atomos recorders) - Canon Plugin 1.2.0 for ProRes RAW (macOS only)Note: ProRes RAW support in our current, shipping Windows products relies upon installation of Apple’s Apple ProRes RAW for Windows 1.3 pa
I applied the audio remix in the beta version, but nothing happened; only the normal audio remained, and visually it showed that it had been remixed, but it hadn't expanded the audio, it sent the original audio.
v26.3.0 BETA Build 71Mark in and out points - programme monitor does not update to new duration immediately. This is intermittent and update usually occurs after timeline is moved (but not always).
System info Application: Premiere Pro (Beta) v26.3.0.71 OS: macOS v15.7.4, RAM: 96.00 GB GB, CPUs (logical): 24Canon R6 HEVC files are clipping blacks with Hardware Decoding enabled on Thunderbolt Displays
It’s very simple and is reproduceable every time. I upgraded to 26.3 today, and everytime I click file, export, media encoder… media encoder does not start, and premiere just closes. When I open it back up, it says ‘it unexpectedly shut down’, and ask if I want to open the file. Every time I try, this happens. Restarting does nothing. When i go back to using the non-beta version, everything works perfectly as expected. It’s only a problem in the newest beta.
We want to hear from you — Color Mode feedback surveyColor Mode is now in public beta, and your feedback is going to shape what it looks like at GA.If you've spent time in it, we want to know what's working, what's not, and what you wish existed. The survey only takes a minute and goes directly to the team building it.Fill it out here Thank you for testing Color Mode!
To make my green screen easier to key I have been using secondary to pump up its hue and saturation, then denoising and blurring it a little, before adding ultra key. How would I do something similar in color mode. I can see that for now at least the Lumetri Color panel is still available as an effect so I could put that onto my clip first, but I’d rather make the full leap to color mode if I can.
The ability to apply color operations to a group of clips in the new color workflow (beta) is solid. It would be helpful to be able to select one or multiple clips and add them to an existing group. This could also include moving a clip or clips from one group to another. Thanks and keep up the good work!
I’m currently working with the new Premiere Pro Beta color grading tools and ran into a workflow question.My footage comes from multiple cameras (Sony FX30 and DJI Air 3S), and each camera requires its own specific LUT for proper color matching. The issue is figuring out the best way to manage this efficiently in the new color grading workflow.Right now, I’m unsure how to structure the process so that each camera source automatically gets the correct LUT applied without constantly switching settings or breaking the grading workflow later on.What would be the recommended approach for handling multiple camera-specific LUTs in Premiere Pro Beta? Is there a clean workflow for organizing this in the new system?
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