Find Footage Faster with Adobe’s AI-powered Media Intelligence and the new Search Panel in Premiere Pro (in beta)
A common experience for editors is the frustration that comes with finding the perfect clip to support the narrative timeline or as B roll. Running through thumbnails – or worse still file names or camera card clip numbers – can be laborious even with the best logged and managed clip filing protocols. You know the content’s there, but which folder is it in?
You can now find ‘that clip’ or a filtered selection of clips that you are looking for within your Premiere Pro project in the new Search panel (in beta) powered by Adobe’s Media Intelligence feature. The AI-powered Media Intelligence feature automatically identifies the contents you’ve requested such as people, objects, locations, camera angles, and more across thousands of clips from all the project folders in seconds.
You simply type your search criteria into the Search panel UI using natural descriptive language like, ‘red canoe at dawn’ or with shoot metadata (like date stamp, location or camera). Seconds later the Search panel displays all the relevant clips as thumbnails that match your search criteria from across your project folders (along with transcripts and metadata). You can then scrub through the thumbnails to find the content you’re after.
Critically the media analysis is lightning fast and takes place on your desktop or within your own set-up; that is, you don’t need an internet connection to use it. And, in line with all of Adobe’s AI-powered tools, your content is never used to train any AI models.
Automatic Caption Translation in Premiere Pro (in beta)
Building on Adobe’s popular Text-Based Editing workflow, Adobe is now including fast, accurate, automated caption translation in 17 languages. You can have multiple caption tracks visible at the same time to display various languages, or to assist you if editing in a different language.
Translating and applying captions has historically been a laborious and time-consuming final stage. This can be especially frustrating (and expensive) for news, fast turnaround projects or for social media playout. With accurate captions automatically translated and stripped into your project, you can bring your content to more audiences faster and at a lower cost than ever before. And all without leaving the Premiere Pro application.
Faster Playback in After Effects (in beta) by maximising available Processing Power
Everyone wants to work faster and save time. You can now deliver motion design projects faster and without interrupting your creative thought process.
After Effects (in beta) is meeting that demand with new performance improvements. Adobe has introduced a faster caching system that uses both your computer’s RAM and any high-performance attached hard drives to preview and playback larger and more complex projects faster than ever before.
You’re no longer limited by the amount of RAM on your computer when you play back your work. Even older desktops and laptops can now play back entire compositions in After Effects without having to pause for caching or rendering.
Motion design is almost always an iterative process, based on reviewing and editing your motion design until it best serves the project. By maximising the available processing power, After Effects can now play a sequence back faster for further review, giving you more time to work up and craft the final sequence while reducing the perceptual fatigue that comes from waiting for the render and cache.
Review your projects in HDR in After Effects (in beta)
It’s just as easy to work in HDR as it is to work in SDR with the latest version of After Effects (in beta).
With support for PQ and HLG video in After Effects, motion designers can now review their HDR comps accurately with improved video scopes that support HDR. Whether you’re working on a laptop or using professional I/O hardware to send an HDR signal to a calibrated reference monitor and seamlessly switch between SDR and HDR for more accurate and faster reviews.
Frame.io Camera to Cloud: now available for select Canon cameras
Adobe has partnered with Canon to integrate Frame.io Camera to Cloud (C2C) with the latest Canon C80 and C400 cameras. With this integration you can automatically upload proxy files directly from the Canon C80 and C400 to Frame.io (following a recent firmware update) enabling remote stakeholder review and editors’ access to footage from anywhere within moments of image capture with a reasonable internet connection.
Now that Premiere Pro supports raw camera formats from these cameras, this integration allows production teams to get the best of both worlds: speed and quality. Send proxy files to the cloud while recording to start an edit and relink to the camera originals before picture finishing and delivery.
This seamless connection between production and post-production enables a whole new way to collaborate in real-time that unlocks faster project turnarounds and the ability to address potential issues before production wraps. By addressing problems as they occur, you can avoid costly reshoots and have greater confidence that everything you’ve captured is securely stored and accessible regardless of location.
With a Frame.io account, a Canon C80 or C400, a network connection, and a simple six-digit pairing code, you can be uploading your video files to the cloud within minutes. Whether you’re working on an independent project, or a large-scale production, this integration offers a streamlined, more efficient workflow from capture to edit.
Not only can producers, directors and editors have near instant access to securely stored clips, but they can additionally offer timely feedback to ensure everything that needs to be captured has been and so avoid costly reshoots and deliver better final projects, faster.
A more efficient way of working. Only with Adobe Creative Cloud
Adobe’s latest round of application enhancements for video professionals within Creative Cloud has focussed on efficiency:
- by significantly speeding up time-consuming and labour-intensive tasks (like clip search and translating and applying captions)
- by reducing production and processing bottlenecks (by maximising what processing power is locally available for After Effects)
- by improving and enhancing playback (with PQ and HLG HDR monitoring in After Effects)
- and with more efficient workflows for time-sensitive projects (with automated Frame.io C2C for the Canon C80 and C400 cameras)
It is less than three months since the Adobe Max conference when Adobe introduced a significant volume of new features and tools (like Generative AI to extend recorded clips and commercially safe text-prompt-to-video with Adobe Firefly integration, faster performance with hardware optimisation for Premiere Pro playback, more RAW camera files support, a powerful Colour Management feature, audio clean-up, ’crop’ and other feature automation, and a more intuitive user interface).
The Adobe Video Team continues to innovate with a focus on the editor’s and motion designer’s lived experience and has introduced new features and tools that directly address and ameliorate the real-world challenges and tasks the craft creative faces on a daily basis.
And as more professional editors and motion designers than ever choose Premiere Pro, After Effects and Frame.io, the Adobe Video Team continues to prioritise core workflows to place more power in the hands of the creative.
If you’re an Adobe Creative Cloud member, you already have access to all the apps detailed above in beta. You can even install the betas side-by-side with the current releases of Premiere Pro and After Effects so that you can see how much they improve your workflow.
Edited on Premiere Pro: Anora and The Bear
Winner of last year’s Cannes Palme d’Or Sean Baker’s Anora is being hotly tipped for Best Picture at the Oscars. Edited on Adobe Premiere Pro, Anora has received glowing reviews for its intricately crafted storytelling.
Writer, Director and Editor, Sean Baker commented, “Adobe Premiere Pro has been a go-to tool for me because of its versatility and ability to handle everything from quick edits to detailed, complex sequences. For Anora, it was important for me to experiment freely while staying true to the story’s authenticity and Premiere Pro allowed me to do that.”
In The Guardian’s five-star review of Anora, Xan Brooks said, “the brilliant new picture from American writer-director Sean Baker Sean Baker, is a screwball Cinderella tale – frenetic and funny, fiery and profane… this boisterous New York caper vaults him towards greatness.”
With another five-star review in the Irish Times, Donald Clarke writes, “One marvel (among many) of Sean Baker’s mainstream breakthrough is that not one of its 140 minutes feels wasted… The editing swings from sharp jab to mighty roundhouse. No purer entertainment has come our way this year.”
Premiere Pro is being increasingly used to edit award-winning television and film. The Bear broke all records for a comedy with 11 Emmy Award wins last September. The Bear also won a Creative Arts Emmy Award for “Outstanding Picture Editing For A Single-Camera Comedy Series,” as well as Netflix’s “John Mulaney Presents Everybody’s in L.A.” which won for “Outstanding Picture Editing For Variety Programming.”
Adobe at the Sundance Film Festival
Ahead of last month’s Sundance Film Festival 2025, the Sundance Institute survey found that nearly 85% of 2025’s entrants relied on Adobe Creative Cloud applications – including Premiere Pro, Frame.io, After Effects, Photoshop and the Substance 3D Collection – to bring their stories to life.
Adobe Premiere Pro was again the most popular video editing software, used by over half (60%) year’s films.
Adobe’s Continued Commitment to Underrepresented Creators and Filmmakers
As the presenting sponsor and official editing platform of the Sundance Film Festival, Adobe is committed to fostering diversity in the film industry. Ahead of the Sundance Film Festival, Adobe and the Adobe Foundation announced an additional $5M commitment to the Adobe Film & TV Fund, bringing this to an $11M fund that has to date supported underrepresented creators and filmmakers in finding career opportunities on-screen and behind the camera. Three filmmakers who were supported through the Adobe Film & TV Fund grant to The Latinx House last year had films premiering at Sundance: María Gabriela Torres, editor of “The Librarians,” Isabel Castro, director of “Selena y Los Dinos,” and Mario Fierro, editor of “Sweet Talkin’ Guy.”
The Adobe Film & TV Fund is partnering with Group Effort Initiative (GEI) to provide Adobe training courses for the next generation of filmmakers, editors and marketers. GEI aims to provide education, training, mentorship and professional development to underrepresented communities in the entertainment industry. Through this partnership, Adobe and GEI will support mid-career advancement for diverse professionals through employer engagement, career outcome analysis and strategy development.
Following the recent wild fires in Los Angeles, the Adobe Foundation has given a $1million grant to support those affected by the recent catastrophe within the creative industries.
Jon Creamer
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