Adobe has announced new innovations which it says are aimed at empowering filmmakers at all levels. The company has also revealed an additional USD$5M investment in the Adobe Film & TV Fund to support underrepresented creators and filmmakers. Meanwhile, the Adobe Foundation has made a $1 million charitable grant to aid Los Angeles creative communities impacted by recent wildfires.
New Tools for Filmmakers
Adobe Premiere Pro’s beta version has introduced a Media Intelligence and Search Panel that leverages AI to locate specific film clips within massive libraries. It also offers AI-powered caption translation in 17 languages, streamlining multilingual caption generation and improving accessibility worldwide.
Media Intelligence & Search Panel – For editors, the hunt for the right clip can be a daunting experience, especially in larger projects with a lot of footage. With the new AI-powered Media Intelligence and Search Panel in Premiere Pro (beta), editors can now find exactly what they need when they need it. Instead of painstakingly hunting through shots manually, Media Intelligence now automatically recognises clip content – including objects, locations, camera angles or metadata like shoot date or camera type. They can just type in the clip type needed into the new Search Panel and let Media Intelligence do the rest.
Caption Translation – Captions are more important than ever as filmmakers scale their content for reach, engagement and accessibility globally – but until now, editors have been slowed down by manual translations, disrupting their workflow and often requiring additional expense. Now, Premiere Pro (beta) offers native caption translation in 17 languages, so customers can expand to new audiences quickly and accurately.
New After Effects’ features include:
- Improved Caching – Play back an entire composition faster than ever before. All computers that meet the minimum specifications will be able to play back their entire composition the moment it’s cached.
- Improved HDR Support – Accurately import, monitor and export high dynamic range content, resulting in brighter and more vivid motion design work.
Frame.io also expanded support for Camera to Cloud (C2C) support for Canon. Customers can now automatically upload and access high-quality footage directly from Canon EOS C80 and EOS C400 cameras in Frame.io, unlocking real-time collaboration, accelerated video workflows and a seamless experience between production and post. C2C revolutionises workflows by automatically uploading media as it’s captured, eliminating the need for manual file transfers. This seamless integration accelerates content creation by providing instant access to media and enabling real-time collaboration through Frame.io’s powerful creative management tools – solving the challenges of remote teamwork and minimising project delays.
Adobe Premiere Pro Media Intelligence.Sundance 2025 Filmmakers Choose Adobe
According to the annual Sundance Institute survey, 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. Premiere Pro was yet again the most popular video editing software, used by over half (60%) year’s films. “Opus,” “By Design,” “Train Dreams,” “Bunnylovr,” “The Alabama Solution,” “Bucks County, USA”, “The Legend of Ochi” and “Perfect Neighbor” are just a few of the narrative features, documentaries and episodic series set to debut at the 2025 Sundance Film Festival that were cut on Premiere Pro.
“We cut Opus in Adobe Premiere Pro using Productions. My offline editorial philosophy is to get everything outside the picture edit—sound, VFX, color, etc. as close to final as possible. Premiere Pro and After Effects really allows us to do this seamlessly with a small team, making the process more fun and efficient.” — Ernie Gilbert, editor, “Opus”
“The magic of Premiere Pro is how easy and seamless it is to work with so many different types of media. All of our sources were different frame rates, sizes, colors, you name it. The solutions were embedded in the application to make these elements work harmoniously and made swift work on things like a temporary blur and to lighten up some rough darkness in night footage.” — Viridiana Lieberman, editor, “The Perfect Neighbor”
“The ‘review with Frame.io’ panel is a godsend! Especially when you need to quickly digest feedback. On this show, I used it to render cuts directly to my account where Amanda and the Producers added notes and then downloaded as comment markers. Then, next round: rinse, repeat. Brilliant.” — Benjamin Shearn, editor, “By Design”
Recently, the Academy of Motion Picture Arts and Sciences announced shortlists for 10 different categories for the 97th Academy Awards, and Documentary Feature Films including “Will & Harper,” “Frida,” “Daughters,” and “Black Box Diaries” were all edited using Premiere Pro. Additionally, the ACE Eddie nominations included a variety of films and television shows that used Premiere Pro, After Effects and Frame.io, including “Anora” and “The Jinx: Part Two”.
“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,” said Sean Baker, Writer, Director and Editor of Anora, winner of the 2024 Cannes Film Festival Palme d’Or, and 2024 American Cinema Editors (ACE) nominee for Best Edited Feature Film (Comedy, Theatrical). “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.”
These nominations come off the heels of Adobe’s prevalence at the Creative Arts Emmy Awards last September, where FX’s “The Bear” – which used a variety of Adobe tools including Premiere Pro and Frame.io to bring its story to life – 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 used Premiere Pro and won for “Outstanding Picture Editing For Variety Programming.” Other Emmy-nominated shows that were created with Adobe tools include “The Jinx: Part Two,” “Tig Notaro: Hello Again” and “Ramy Youssef: More Feelings.”
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