Introducing new AI-powered features and workflow enhancements in Premiere Pro and After Effects 25.2

At NAB 2025, we are delivering new versions of both Premiere Pro and After Effects with AI workflow features and dozens of improvements pro editors and motion designers have asked for. In Premiere Pro, you can extend clips with Firefly-powered Generative Extend in 4K. New Media Intelligence helps you find the right clip in seconds. Captions can now be translated automatically in over 27 languages to reach a global audience. And you can get started faster than ever with drag-and-drop color management. Other top workflow improvements in Premiere Pro 25.2 include dynamic waveforms, colored sequence labels, additional GPU accelerated format support, and more. We’ve also released After Effects 25.2 with a new high-performance preview playback engine, powerful new 3D motion design tools, and stunning HDR monitoring.

Premiere Pro

Firefly-powered Generative Extend in 4K

It happens to all of us. Sometimes the camera starts too late or cuts too soon, leaving you with a great moment that’s just a little too short. Now, Generative Extend can save the day by adding a few extra frames to your clip to achieve the perfectly timed edit.

Powered by Adobe Firefly, Premiere Pro will seamlessly add extra 4K frames so you have enough media to cover transitions, hold on an emotional reaction for an extra beat, or add in missing ambient sounds and/or room tone. Generative Extend works in the background while you continue to edit and clips are marked with Content Credentials so viewers know where AI was used.

You can try Generative Extend now at no cost. After a limited time, Generative Extend will consume Firefly generative credits. The price will vary based on the format, frame-rate, and resolution of your video. Please check the Adobe website for detailed information.

Fly through hours of footage and find clips fast with AI

With AI-powered Media Intelligence and an all-new Search panel, you can now search hours of footage in seconds. The content of your clips is automatically recognized, including objects, locations, camera angles, and more. Use natural language search terms to describe anything you want and matching clips will be found instantly. You no longer need to create string outs with your selects, mark sequences and clips, or rely on your memory of the shoot to find what you need.

And you can find visuals, spoken words in dialog, or embedded metadata such as shoot date or camera type — all at the same time, in one place. You can hover over thumbnails, scroll through multiple transcripts, and edit straight into the timeline from the panel.

You can search footage for descriptive terms like  “close-ups of hands working in a kitchen”  or  “overhead shots of plates of food”  and see relevant moments I can quickly scrub through or load in the Source monitor. Or I can search for  “cacao”  and find related visuals, transcript mentions,  and  embedded metadata with shoot location all in one place!

Media analysis is fast and happens on your own system, so you don’t need an internet connection to use it. And as with all our AI-powered tools, your content is never used to train any AI models.

Take the guesswork out of color management

One of the toughest technical challenges of video editing is normalizing your log and raw video clips so you can start your creative work. With Premiere Color Management, we’ve made it simple to import and get right to editing with great-looking footage. No more dealing with washed out, grey-looking log video.

Premiere Pro now transforms your original log and raw camera files directly to SDR or HDR – without needing LUTs. It works automatically for most camera formats as soon as you import your footage. If you’re working with select formats, proxies, or log content you purchased online, it’s easy to tag the appropriate color space for batches of clips right from your bins.

Additionally, Premiere Color Management provides you with a new wide-gamut color pipeline using industry-standard ACEScct as your working color space. With our new color pipeline, Premiere can utilize all the log and raw data of your source clips for more dynamic range and control for color grading in Lumetri. It makes matching multiple cameras, perfecting skin tones, and dialing in the mood and tone of your videos more flexible and fun than ever before.

Best of all, Premiere Color Management is simple for any video editor to use. When making a new sequence, adjusting sequence settings, or working in the settings tab of your Lumetri panel, all you need to do is select one of six new color management presets. If you’re a color expert, there’s a wide range of settings to customize based on your needs.

The default preset, Direct Rec.709, gives you a color pipeline similar to previous versions of Premiere Pro so your legacy projects open and look as expected. To unlock the capabilities of our new wide-gamut color pipeline, simply select any of the three new “Wide Gamut” presets.

Auto-translate captions in 27 languages

After we introduced Text-Based Editing in 2023, we heard the community loud and clear: captions are critical, and translations are a must. Now we’re fulfilling this top request so you can automatically translate your captions into 27 languages with AI. Captions have become increasingly important for accessibility and engagement on social media. Reach more viewers, followers, and customers to grow your global community without leaving Premiere Pro.

Plus, you can have multiple caption tracks visible at the same time to display various languages or even assist you through editing in a different language.

Premiere Pro is even faster & more performant than ever

We know that speed and reliability is critical in your day-to-day work as an editor. We’ve been working hard on more top requests for our community and improving Premiere Pro under the hood to make it faster than ever, including:

• Dynamic waveforms that grow and shrink as you make volume adjustments to give you a visual representation of your audio level.
• Sequence label colors that help you stay organized by adding color to sequence tabs.
• Completely rewritten support for H.264 in MP4 and MOV provides up to a 4x increase in performance on Apple silicon computers and a 2x increase in performance on Windows.
• Hardware-accelerated Canon Cinema RAW Light on Apple silicon computers, so playback on the timeline is up to 4x faster and export is up to 9x faster.
• Faster audio conform and peak file generation that’ll get you started faster and keep you working smoothly.

Plus, we’ve been working with NVIDIA to introduce faster than real-time playback for popular formats including H.264 and HEVC 10-bit 4:2:2. Editors using Premiere Pro (beta) with newer Windows systems get GPU-powered decode acceleration using NVIDIA Blackwell GPU Architecture. That means working with camera originals instead of proxies, smoother timeline responsiveness, and reduced CPU load, freeing system resources for multi-app workflows and creative tasks.

After Effects

Play back your entire comp on any computer without the waiting

For years, the amount of work you could play back in After Effects has been dependent on the amount of RAM in your computer. This made it difficult to preview longer compositions without pausing and waiting for After Effects to re-cache, especially on laptops.

High Performance Preview Playback changes that forever.

It’s a new caching system that utilizes your computer’s RAM and local disks together, so After Effects can cache and preview your entire composition. It’s one of the biggest performance improvements in the history of After Effects. Now any user, on any computer, can play back more of their comp than ever.

Make realistic 3D animations in fewer clicks

After Effects users have been asking us for more 3D tools to enhance their motion design and VFX compositing capabilities. Not only are we releasing more tools, we’re making 3D faster, easier, and more fun for any 2D motion designer or video editor to start using.

With new Animated Environment Lights, you can wrap your 3D comp with moving light made from any video or animation. Use your background plates, 360-degree videos, selected layers, or even an entire comp to illuminate your 3D models with reflections and shadows that move.

You can now use 3D FBX models natively in After Effects, making millions more 3D models available for you to use. FBX is a popular 3D model format commonly used in online marketplaces.

Additionally, we’ve condensed many advanced and multi-step 3D workflows into new one-click menu items. Now you can create a 3D background environment that moves with your camera or shade your 3D model with custom effects in just a single click.

Monitor your work in HDR

In addition to importing and exporting HDR content in After Effects, we’re thrilled to introduce new HDR monitoring. Whether you’re working on an HDR-enabled laptop or transmitting your video signal to an HDR reference monitor, you can now view new levels of vibrance, saturation, and brightness in After Effects.

More to love in After Effects 25.2

While all our new features in After Effects come directly from professional motion design and video editing communities, these ones are the little things that matter a lot to the users who animate and composite in After Effects frequently.

• Custom fallow colors and transparency grids
• New preference to maintain workspaces when opening projects from another user
• New null commands for precise animation control
• 3D model animation controls in the Properties Panel

Availability

All these features are available now. For more information on how to access please visit the Premiere Pro page and After Effects page.