Help Center

Installation

FLEDIT ships with a simple installer that does everything for you. Download it, run it, open Premiere Pro.

Uninstalling FLEDIT

To remove FLEDIT, use Add or remove programs on Windows, or open the FLEDIT Uninstaller from your Applications folder on macOS. As with installing, close all Adobe apps first.

During uninstall you can choose whether to keep your data - notes, timer history, macros, keyboard shortcuts, favorites and your user library. Keep it if you might reinstall later, or remove everything to completely wipe your data.

System Requirements

I test and support FLEDIT on Premiere Pro 2025 and newer. It may well work on older releases, but I can't guarantee it - if you're on an earlier version and run into trouble, updating Premiere is the first thing to try.

License Activation

The first time you open FLEDIT you're asked to choose between the Free tier and a paid (Standard or Pro) license. Both flows live in the same Settings screen, so you can enter a key later too.

Activating the Free tier

You don't need a license key for Free. On the first-run dialog click Continue with Free plan - FLEDIT unlocks the free features immediately. You can always come back to Settings later and enter a paid key once you have bought one.

Activating a Standard or Pro license

After purchasing on Gumroad, you'll receive a license key via email.

Important details

• Your license is tied to your machine's hardware ID. Standard = 1 machine, Pro = 2.
• New computer, or hit your device limit? You don't have to deactivate anything by hand. When you try to activate on more machines than your license allows, FLEDIT opens a window listing every device currently using your key - with the date each one was activated and last used. Remove the device you no longer use to free up a slot, then continue. This works even if the old machine was formatted or is no longer accessible.
• FLEDIT re-checks your license online from time to time, so it needs an internet connection now and then. You can keep working offline between checks, but if it can't reach the licence server for a while it will ask you to reconnect before you continue.

Updating FLEDIT

FLEDIT checks for a new version on its own and lets you download it straight from the panel - you do not have to go looking for anything on the website.

When a newer version turns up, a notice appears in the panel: “FLEDIT 0.8 available”, with the first line of the changelog and a Download button that opens the download in your browser. The notice shows once per panel session; dismiss it with Don’t show again and it will not come back for that version - but it will for the next one.

Everything that changed in each version, from new features to small fixes, is listed in the changelog.

Click the gear in the top-right corner of the panel and scroll to Updates & Notifications. It holds:

Version

The version you have installed right now - this is where you check it.

Latest

Appears only when something newer exists: the version number marked Update available, a Download Update button and the changelog under What’s new. When you are current, this row reads ✓ You’re up to date.

Notify me about FLEDIT updates

The checkbox that decides whether FLEDIT nudges you about a new version. Turning it off does not turn off service notices (a compatibility warning for a new Premiere release, for example) - those are always shown.

In the same section, a user on the FREE plan gets a second checkbox: consent to receive commercial information about FLEDIT offers and promotions, shown as notifications inside the plug-in. The consent is voluntary and is not a condition of using the FREE version - without it you simply never see an offer. A status line under the checkbox says when consent was given or withdrawn. Unticking withdraws it immediately, and withdrawing it does not affect your newsletter consent from the website.

Split the panel into windows

When the FLEDIT panel is wide, you can have several tabs open at once (up to 4) - Notes next to Animations, say, or Timer under Zoom. There is no button or setting for it: you build the layout with a gesture.

Grab a tab on the top bar (Notes, for example) and drag it down, below the tab bar. A label with the tab's name follows the cursor and a lime drop zone appears on the panel - release the tab where the new window should go.

Dragging from the “•••” menu (tabs that didn't fit on the bar) works the same way. If you move the cursor back over the tab bar mid-gesture, the drag turns back into plain tab reordering.

• The window you clicked last is active (lime border). Clicking a tab on the top bar replaces the content of the active window; clicking a tab that is already open in some window just moves focus there.
• Drag the divider between windows to change the proportions; double-click it to go back to 50/50.
• If you narrow the panel so the windows no longer fit, FLEDIT shows only the active window full-size; the layout waits and comes back once the panel is wider again.

Hover over a window's top-right corner - ✕ (Close window) and a move handle appear (Move window - drag it onto the centre of another window to swap them). You can also right-click a tab on the bar → Close window, or drag the tab back onto the bar. When one window is left, the panel returns to the normal view.

Animations & Library

The Animations tab gives you a ready-made library of transitions, effects and animations. Double-click or drag onto the timeline. Mark favorites for quick access, and build your own library of custom MOGRTs and your own asset collection.

There are two ways to apply any built-in item:

• Double-click - inserts the item at the current playhead position.
• Drag & drop - drag the thumbnail onto the timeline. FLEDIT creates the necessary track, imports the template, and snaps it to where you release.

FLEDIT auto-detects your sequence resolution and rescales the template - a 1080p transition works on 4K and other 16:9 formats. Items marked with a 16:9 badge are designed for that aspect ratio and may not scale correctly to vertical (9:16), square (1:1), or other non-16:9 formats.

FLEDIT's built-in MOGRTs have an intro and an outro baked in. If you shorten such a clip by trimming it on the timeline, the outro stays where it was (at second 10, say) - you simply cut it off. So change the length in the plugin instead:

FLEDIT changes the clip length and moves the template's disappear moment, so the outro always ends exactly at the end of the clip. The intro stays as it was. With several clips selected, they all get the same length.

In the Animations → 3D Camera and Animations → Liquid Glass folders there is a How to use button above the tile grid. It opens the “How to change the background” guide with a video.

These templates have a replaceable background. You can put any photo or video inside.

Want to use a piece of your timeline as the background?

Click the heart icon on any thumbnail to add it to Favorites. Favorites work for everything - built-in transitions, built-in effects, your own MOGRTs, your imported media. The Favorites folder appears at the top of the sidebar so you never have to dig through categories again.

Click + New Folder in the sidebar to create a folder for any kind of content - client logos, intros, sound effects, music, anything you reach for often.

You can rename the folders you create (right-click → Rename), change their display order, and delete them at any time.

When a User Library folder is open, the search field looks only in that folder and its subfolders. The field says so: “Search in <folder>...”. While you type, a Search in: switch appears above the results with two halves: the folder name and Everywhere, meaning all your folders and the built-in presets. Each shows its number of results. When the folder has nothing but other places do, click Search everywhere. Clearing the field takes you back to the folder you started from.

You can type several words in any order, and upper or lower case and accents don't matter: “caly” finds “CAŁY”.

Click + Import → MOGRT, pick a .mogrt file (or drop one onto the import dialog), choose a target folder and confirm. The MOGRT is copied into your User Library and behaves exactly like a built-in item - double-click or drag onto the timeline.

Click + Import → Media and pick a folder on disk, or drop several folders into the window at once. In Target folder, choose where they go:

• USER LIBRARY (the first item on the list) - each folder becomes a separate library folder, named as on disk, together with its subfolders.
• One of your folders - the imported folder goes inside it.

By default the folder you're currently in is selected, or USER LIBRARY if you're not in any. This option exists only for media imports: MOGRTs and sequences always go into a library folder (if you don't have one yet, FLEDIT creates “My Library” for you).

Files and subfolders stay in sync with what's actually on disk. There's nothing to refresh by hand: FLEDIT re-reads the folder whenever you switch back to the panel, so changes you make in Explorer or Finder show up on their own within a few seconds. If a change ever doesn't appear, click anywhere in the FLEDIT panel to give it focus - the list refreshes the moment it does.

Supported formats:

Any other file type in the folder is simply ignored.

How live syncing works:

File added

Drop a new file into a watched folder - it shows up in FLEDIT on its own the next time the panel has focus (usually within a few seconds). No manual refresh needed.

File deleted

Delete a file on disk and its card disappears from FLEDIT - the small cache it created is cleaned up along with it.

Subfolder added or removed

Create a new subfolder inside a watched folder in Explorer/Finder and it appears in the list; delete a subfolder and it drops out. The library always mirrors your folder structure on disk.

Renamed externally

Rename a file in Finder/Explorer and FLEDIT treats it as the old one leaving and a new one arriving. Note: if you used that file in a macro, the macro will show a “BROKEN” status - you can then point the macro at the new file, as described in the macros section.

Right-clicking a media card gives you two options:

Show in Explorer / Reveal in Finder

Jumps straight to the file in your system file manager - Explorer on Windows, Finder on macOS - so you can locate it on disk in one click.

Delete

Hides the card from FLEDIT only. The file stays exactly where it is on disk - nothing is removed from your folder, you're just tidying up what shows in the library. To get rid of a file for good, delete it on disk and FLEDIT will drop the card on its own.

You can pull whole sequences out of another Premiere project and keep them in your User Library. Click + Import → Sequences and pick a .prproj file; FLEDIT reads it and lists the sequences inside, so you choose which ones to add to a library folder.

To import a sequence into an open project, just double-click it.

Click any media to open the built-in player - a video player for clips, an image viewer for stills, or a waveform for audio files.

Trim before you add - in & out points. You don't have to drop the whole file on the timeline. Mark a range in the player and FLEDIT inserts only that fragment of the clip or track:

• Space - play / pause
• I - set the in point at the current position
• O - set the out point
• Esc - clear the in / out selection

You can also do it with the mouse: right-click the waveform or playback bar and pick Mark In, Mark Out or Clear In & Out. Once a range is set, double-click the card or drag it onto the timeline - only the selected portion is added.

Once a piece of media is on your timeline, FLEDIT marks the corresponding library card with a small green dot and a status (“ON TIMELINE”). Remove the clip and the “ON TIMELINE” status disappears, so you always know what's already in use. The Refresh and Auto buttons handle refreshing the media status on the timeline:

Auto

Auto-scan. FLEDIT watches the timeline and keeps the “ON TIMELINE” badges up to date automatically as you edit. The refresh runs on a cycle, so a change can show up with a slight delay. If you need the current state right away, click into the FLEDIT panel so it takes focus - it refreshes immediately then. Auto can be demanding on a heavy timeline - turn it off then and refresh by hand instead.

Refresh

Scans the timeline and updates the “ON TIMELINE” badges - the quick way to see what's currently in use when Auto-scan is off.

Toggle between grid view (default) and list view from the toolbar. The slider next to it controls thumbnail size in grid mode, or row height in list mode.

When an import or a drop can't go through, FLEDIT shows a short message (usually a toast that fades out). Here's what the common ones mean.

Text Animate

Text Animate - built for captions in short-form vertical video - Reels, TikTok and Shorts. Pick any animation, then double-click a tile - the animation lands on every selected clip.

Mode

In, Out or In + Out. Decides whether the animation plays at the start of the clip, at the end, or both. Only affects the In & Out section - Loops ignore it.

Speed

Quick and Slow are the two built-in timings. Custom unlocks the Duration slider, where you set the length of the entrance / exit yourself.

Ease IN / OUT

A separate curve for the entrance and the exit. Auto (per animation) uses the curve built into the preset. You can also pick any curve from Ease Keyframes - built-in or saved by you.

Slide distance

How far the captions move.

Motion blur

Turns on the Shutter Angle of the Transform effect so fast moves smear like real camera motion. The number next to it is the angle, 0-360; 180 is the natural, camera-like value.

Every preset carries a curve that suits it - which is why Auto is the safe choice. Swapping in your own curve always works, but not every curve looks good on every animation: a strong overshoot (Overshoot, Elastic, Bounce) gives a short entrance a kick, while on a loop or a long, slow move it can read as a jolt. If the result surprises you, go back to Auto or to a gentle curve.

These play at the edges of the clip and follow the Mode setting. They're grouped into families:

Pass the direction on - that's what makes it look professional. The eye keeps following the last direction it saw, so a caption should enter the way the previous one left. If caption 1 exits with Slide Left, caption 2 enters with Slide Left. Caption 2 is then free to exit in a new direction - Slide Up, for example - and caption 3 picks that up and enters with Slide Up. Change direction as often as you like; just always hand the direction over. This is what keeps a fast caption sequence reading as one continuous move instead of a pile of separate effects.

Several captions on screen at once. When two or three independent captions share the screen, the rule applies to the group, not to every single caption. The first caption of the group still enters with the direction the previous caption left on. The ones that join it afterwards can enter however you want - they build up as a block. But when the block leaves, every caption in it exits with the same animation, and the next caption enters with that one. The handover happens between groups, not inside them.

Loops ignore Mode and play across the entire clip. They have their own controls under the section header:

Speed

How fast the loop plays.

Range

How far the motion travels.

Motion blur

The same switch as in the settings card - motion blur applies to loops too.

Apply Wobble to a lower-third caption and the pivot detection does the rest: the text swings around itself, not around the frame. Scale, Bounce, Tilt, Windy and the loops that rotate or scale work the same way: FLEDIT measures the center of every caption separately, also when you animate several captions at once, when a caption sits off-center or when its Anchor Point has been moved.

The In, the Out and each loop are written to a separate, fresh Transform effect. That means you can stack them freely: a Slide In, a Knock Out and a Wobble loop can live on the same caption, and you can remove any one of them in Effect Controls without disturbing the others. There's no limit to how many you stack.

Click the heart on any tile to mark it as a favorite, then use the All Presets / Favorites switch to show only the ones you actually use.

Random assigns an animation to every selected caption in one click. The Settings button opens the settings page with three tabs: Profiles, Random and General.

Random

Random picks from

Types draws from the families you switch on: Slide, Scale, Bounce, Blur, Strobe (off by default), Tilt, Windy, Knock, Shake. Diagonal slides adds corner entries to Slide. Tiles draws only from the tiles you pick.

Add a loop

Adds a loop on top of the entrance and exit. Loops to use: Any, or Pick for chosen loops only.

Chain captions

Each caption enters the way the previous one exited, so a run of captions reads as one move. Works in In + Out mode.

General

Fit speed to clip

Off by default: animation length is strict, so on a very short caption the cut may interrupt the motion mid-flight. Turn it on to let FLEDIT speed the motion up so it fits a short clip.

Loop tile previews

Tile previews play in a loop instead of only on hover.

Keyboard shortcuts

The shortcuts that switch Mode (In / Out / In + Out) - see above.

The Profiles tab in Settings keeps sets of settings, for example one per client or per format. Text Animate and Positioning always use the selected profile, and every change saves to it automatically. On first start your current settings become the Default profile.

• New… - a new profile with FLEDIT's original settings and no Favorites.
• Duplicate… - a copy of the selected profile.
• Rename… and Delete… - a deletion can't be undone, and the last profile can't be deleted.

Click a profile in the list to switch to it. A profile remembers the motion settings, Random, Favorites and the Positioning Basics card. Mode with its shortcuts and the tile order and previews in All Presets stay shared by all profiles.

The Reorder button in the view row turns on rearranging mode: grab a tile and drag it to another spot within its category.

The Undo button at the top of the tab reverts the last Text Animate action: it removes the keyframes and the Transform effects FLEDIT added. A Transform you changed after the animation stays on the clip, and FLEDIT tells you so.

Premiere's Ctrl+Z (Cmd+Z) usually undoes the whole action in one press too, but with many clips the Undo button is the safer choice.

Raw word-by-word captions (one word = one clip, the way a transcript produces them) are arranged by Positioning into designed boards: it groups words into lines, picks a shape, shrinks the supporting lines and spreads the clips across tracks so that every word comes in at its moment in the speech. The Positioning button in the view row opens this feature.

What you need

• Captions as Premiere text graphics. One word per clip works best; two work, three is the maximum - a caption can't be split, so clips with 4+ words are left untouched, and if all of them are like that the tool refuses and asks you to re-transcribe with fewer words per caption. Make the captions in Transcribe (set Max to 1-3) and turn them into graphics with the Upgrade Caption to Graphic command in SearchBar.
• Range: Selection (the clips you selected) or In & Out (everything between the sequence In and Out points).

Preview vs Arrange captions

• Preview builds the plan and shows a strip of thumbnails. Click a word to select it, and double-click a thumbnail to see the board big. Nothing on the timeline changes. After the first measurement every settings change re-plans the preview immediately, and you can also fix boards by hand (see below).
• Arrange captions lays the captions out on the timeline, but first asks where. Copy of the sequence creates a new sequence “… - arranged” with the finished layout and leaves the original as it is. This sequence arranges the captions right here, and the Positioning Undo button puts them back.

The Basics card - everything the tool asks of you; the rest is measured from your material.

Words on screen

Auto / 2 / 3 / 4 / 6 / 8 - how many words make one board. Auto picks one of these numbers from the pace of speech.

Lines at most

1 / 2 / 3 - the most lines one board may spread over. It is a cap, not a fixed count: a line is filled with words first and broken only once the next ones stop fitting, so short boards still stay on a single line.

Max letters per line

The longest a line may get (60 = no limit). A caption longer than the limit stands alone on its own line.

Line width

Narrow / Wide / Custom - how wide a line made of several words may grow, counted as a share of the frame width. Narrow and Wide work that share out from the size of your own captions (two or three words to a line) and show it on the Share of frame slider below; Custom unlocks the slider so you set the percentage yourself.

Height on screen

Where the top line sits, measured from the top of the frame; extra lines grow downwards.

Auto line spacing / Line spacing

The gap between lines, measured letter to letter and scaled with the text size, so lines always stay close to the caption. Turn Auto off to set it yourself (e.g. when a small top line above a big one looks too far away).

What appears at once

Whole line - captions come in line by line: the middle one first, then the top, then the bottom. By words - every word appears on its own, the moment it is spoken. Whole block - the whole block of text at once.

Word-by-word captions

0-100 % - what share of captions stays in “one word on screen” mode.

Line sizes

Off / Subtle / Smaller / Custom - the size of the lines around the main (middle) one. The main line never changes size; Line sizes affects the captions above and below the middle one.

Layouts

Choose layouts - which board shapes the tool may pick. Turn off the ones you don't want. The same shape never comes twice in a row, one-line boards are always centred, and three-line shapes only appear when Lines at most is set to 3.

Arrange captions your way - the automatic layout is a starting point. In the preview strip, after you click Preview, you can fix every board by hand.

Move words

Click a word to select it. Ctrl/Cmd or Shift + click selects the words from the first one you clicked up to this one, within one board. Drag the selection: on a neighboring board you choose Same line, New line or Auto, within the same board Line above, Line below or Own line, and between boards New caption, a caption of its own. The order of speech never changes, so only the first words can move to the board on the left and only the last words to the board on the right.

Join two boards

Grab a board by its background and drop it on its neighbor.

Split and Auto

A board you changed by hand shows a Split or Auto button in its top-left corner. Split breaks it where you joined it, or into separate captions, one per line. Auto hands those words back to FLEDIT.

Layout

Hover over a board and click Layout in its top-right corner. You choose the number of lines (1, 2 or 3) and the alignment, e.g. Left stack, Centred or Staircase. The choice applies to that board only, and Auto leaves the decision to FLEDIT.

Places the words won't fit turn gray and tell you why, e.g. “Too many lines” or “Line too wide”. Ctrl+Z and Ctrl+Shift+Z (Cmd on macOS) undo and redo your manual edits and settings changes.

Your edits are saved separately for each sequence, and Arrange captions uses them. If a settings change means a hand-made board no longer fits, FLEDIT arranges those words itself, and your version comes back once the settings allow it again.

Above the preview you pick the thumbnail size S / M / L, and the Animation checkbox plays the captions coming in after every change and when you hover a thumbnail.

Refusals and warnings - what they mean

Also skipped: clips without Vector Motion, with rotation (on Vector Motion, Motion or Transform), with skew (Transform skew), and clips that render empty.

Transcribe

Transcribe turns the speech in a sequence into captions. Pick the tracks with speech and the language, and FLEDIT lays the finished captions on a new caption track in the same sequence. Speech recognition runs on your computer: the recording is never uploaded and no internet connection is needed for it. FLEDIT only goes online now and then to check your license, as it does in the rest of the plug-in. Available on the PRO plan.

When it's done you'll see “Transcription ready” with the number of captions, and a new caption track appears on the sequence. The FLEDIT Transcribe bin also holds an .srt file with the same captions.

Words per line

Min and Max - how many words one caption line may hold (1 to 6 by default). If the captions are headed for Positioning, set Max to 1, at most 3.

Punctuation

Keeps commas, periods and question marks. On by default.

Fill gaps

Each caption stays on screen until the next one starts, with no blank moments in between. Off by default.

Censor profanity

Masks swear words in the caption text, e.g. f**k. Works in 46 languages, the same ones as Auto Censor. Off by default. Level: Low hides strong swear words, Hard also milder words and insults.

Your words

Edit words… opens your list: words to always hide and words to never hide. The list is shared with Auto Censor.

The Spoken language menu lists them like this:

Afrikaans, Albanian, Amharic, Arabic, Armenian, Assamese, Azerbaijani, Bashkir, Basque, Belarusian, Bengali, Bosnian, Breton, Bulgarian, Cantonese, Catalan, Chinese, Croatian, Czech, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Galician, Georgian, German, Greek, Gujarati, Haitian Creole, Hausa, Hawaiian, Hebrew, Hindi, Hungarian, Icelandic, Indonesian, Italian, Japanese, Javanese, Kannada, Kazakh, Khmer, Korean, Lao, Latin, Latvian, Lingala, Lithuanian, Luxembourgish, Macedonian, Malagasy, Malay, Malayalam, Maltese, Maori, Marathi, Mongolian, Myanmar, Nepali, Norwegian, Nynorsk, Occitan, Pashto, Persian, Polish, Portuguese, Punjabi, Romanian, Russian, Sanskrit, Serbian, Shona, Sindhi, Sinhala, Slovak, Slovenian, Somali, Spanish, Sundanese, Swahili, Swedish, Tagalog, Tajik, Tamil, Tatar, Telugu, Thai, Tibetan, Turkish, Turkmen, Ukrainian, Urdu, Uzbek, Vietnamese, Welsh, Yiddish, Yoruba.

Transcribe makes a regular Premiere caption track. To animate the captions in Text Animate or arrange them in Positioning, first turn them into graphics with the Upgrade Caption to Graphic command in SearchBar.

It depends on your computer, above all on the graphics card. FLEDIT picks the fastest route by itself: the graphics card, or the processor when that isn't possible. The first transcription on a given Mac takes a dozen or so seconds longer.

Cut Silence

Cut Silence cuts silence and pauses between words out of a recording. FLEDIT measures how loud the sound is and keeps a margin so the quiet ends of words don't get clipped. You can listen to the result before cutting, and by default everything happens on a copy of the sequence. It runs on your computer without uploading the recording. Available on the PRO plan.

Save your own settings as a preset: Save as…, Rename…, Delete….

Silence threshold

Below what loudness sound counts as silence. Auto (default) sets the threshold from the loudness of your voice.

Minimum silence

The shortest pause FLEDIT cuts. Shorter ones stay.

Keep after speech

How much silence to keep after a word before the cut starts.

Keep before speech

How much silence to keep before the next word.

Ignore short sounds

Sounds shorter than this value, like a tap or a keyboard click, don't break the pause. Anything as loud as speech is always kept.

Threshold line on the preview

Shows the silence threshold as a line on the preview.

Changing a setting recalculates the cuts straight away. Ctrl-drag (Cmd on macOS) on a slider gives finer steps.

After the analysis click Edit cuts. Clicking a cut keeps that one pause in the video, and a second click cuts it again. Dragging the left edge of a cut changes Keep after speech, the right edge changes Keep before speech - always for every cut at once.

When you change something on the timeline or in the tracks, click Analyze again. FLEDIT asks first, because a new analysis replaces the preview and your cut edits.

Remove silences

Cuts the silence and closes the gaps. The default.

Remove silences, leave gaps

Cuts the silence but leaves empty space on the timeline.

Mute silences

Cuts nothing: it splits the clips on the Listen to tracks at the edges of the pauses and disables the pause pieces. Picture and length stay the same, and you'll see the splits on the timeline.

Keep silences, remove the rest

The other way round: keeps only the pauses and cuts everything else.

The button follows your choice: CUT SILENCE, MUTE SILENCE or KEEP SILENCE.

Apply to: New sequence (default) makes a copy named “… - cut” or “… - muted” and leaves the original untouched. This sequence cuts this sequence straight away, after you confirm.

Auto Censor

Auto Censor listens to the speech, finds swear words and covers them with a beep, your own sound or plain silence. Nothing is cut: FLEDIT mutes the words with volume keyframes on the clip where the word was said. It runs on your computer, on the same engine as Transcribe, without uploading the recording. Available on the PRO plan.

Apply to: New sequence (default) censors a copy named “… - censored” and leaves the original untouched. This sequence censors this sequence straight away, after you confirm.

Clips with a changed speed and reversed clips are skipped: the words on them stay audible, and FLEDIT tells you after censoring.

• The transcript has the filters All, Censored and Unsure and a Search… field. Double-click a word to switch its censoring on or off; a single click moves the playhead.
• The Unsure filter collects the places to check: unclear parts and words that only sound like a swear word. The “N places to check” bar with Check one by one takes you through them: Censor (right arrow or drag right), Don't censor (left), Play again (Space).
• Right-click a word: Always censor or Never censor. The word then goes on your list.
• When you analyze several tracks, a Mix / A1 / A2 switch sits above the wave. Mix sounds the way the censored sequence will sound.
• Edit mutes: drag the edge of a red field to mute less or more, or drag across an empty spot to mute a new part.

None

Just silence, no sound.

Default beep

A classic beep. The default.

From library

Any sound from your User Library.

Sound options…

The Beep sound window: Volume, Label color, the part of a library sound to use (Edit in/out…) and what to do when the sound is shorter than the word: Loop or Play once.

Beeps land on their own Censor track at the bottom of the sequence.

Level

Low (default) - strong swear words only. Hard - also milder words and insults. The COMPARE badge shows examples on hover.

Mute

Whole word (default) mutes the whole word. Keep the start leaves the start audible. Start and end leaves the start and the end and mutes the middle.

Audible start / Audible end

How much of the start and end of the word stays audible, as a percentage of the word or in milliseconds (Measure the audible part in).

Safety before / Safety after

A margin of silence before and after the word so nothing leaks through.

Fade

How gently the sound drops away and comes back.

Words written with stars, Unsure words, Sounds like a swear word

What else to censor: words the transcript wrote with stars, unsure swear words, and unsure words that sound like a swear word (these are orange). All three are on by default. Whatever FLEDIT doesn't censor by itself waits for you under the Unsure filter.

Presets: Beep, Mute only (no sound), Strict (Level Hard) and Custom. Save your own with Save as…. If your preset loses its sound file, it gets an OFFLINE badge.

Your words → Edit words… opens the Censored words window with two lists: Always censor and Never censor. Add adds a word, × removes it, Clear all empties the list and Done saves your changes. An asterisk stands for any ending: duck* also catches “ducks”. The list is shared by Transcribe and Auto Censor and works in every language.

Albanian, Arabic, Bosnian, Bulgarian, Cantonese, Catalan, Chinese, Croatian, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Greek, Hebrew, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Latvian, Lithuanian, Macedonian, Malay, Norwegian, Nynorsk, Persian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Tagalog, Thai, Turkish, Ukrainian, Urdu, Vietnamese.

For each of these languages FLEDIT also catches the core English swear words, and parts spoken in English are checked against the full English list. In any other language it finds only English swear words and the words on your list.

Zoom

The Zoom tab replaces the whole “keyframe the Scale by hand” routine. Grab a frame from the Program Monitor, draw a box around what you want to fill the screen, and click APPLY - FLEDIT works out the Scale and Position and writes the keyframes for you.

You can also type the percentage. Click the percentage badge above the box and type a value. Enter applies it and leaves the box where it is, Shift+Enter also centers it. You can swap the two in Settings → Enter in the % field.

Preview navigation: scroll to magnify the preview, hold Space or the right mouse button to pan, and click the 100% chip to reset the view. This only changes how you look at the frame - the zoom you're building stays the same.

The SET FRAME button (next to APPLY) sets the framing you drew without any movement. It's handy when the clip should sit tighter from the very start (e.g. just the face) before your first push-in, or when, after an earlier zoom, you want to jump to a different framing from the playhead with no animation.

Duration

How long the move takes, in seconds or frames.

Zoom position

The button in the duration field: whether a new zoom starts at the playhead, is centered on it or ends there. The same setting lives in Settings → Zoom position (Start / Center / End). Favorites and macros can keep their own.

Ease

How the zoom accelerates. You can also pick any curve from Ease Keyframes, including the ones you saved yourself.

Target

Where the keyframes are written - Motion, Transform, or Vector (on graphic clips). Transform is added to the clip automatically if it isn't there yet.

Blur

Motion blur for the zoom - 0-360, 180 is the natural. Works when the target is Transform.

SET FRAME

Sets the framing with no animation, as if you simply set Position, Scale and Rotation yourself.

Grab frame

Camera icon - captures the current frame from the Program Monitor.

Wide view

Grabs the whole frame even when the clip is already zoomed in, so you can compose a pan from one spot to another.

Infinity zoom

Continuous push across the whole clip - see below.

100%

Zoom out. Grabs the full frame and selects the whole clip, so a single click on APPLY resets the framing.

If the zoom is longer than what's left between the playhead and the end of the clip, a warning appears on the status row: “Zoom needs 2.0s, only 1.2s to clip end”. Click the Fit button next to it and the zoom is shortened to finish exactly at the end of the clip. You can also shorten the duration yourself, or move the playhead earlier.

The infinity icon switches the tab into Infinity zoom: drag the crosshair onto the point the camera should move towards, set the direction and the speed, and click APPLY. The move runs across the entire clip, always at the one speed you picked.

Direction - IN pushes towards the anchor, OUT pulls away from it.

Speed - how much ground the move covers over the clip:

Infinity zoom works on several selected clips at once. A clip stretched in one direction (e.g. scale 130 × 100) keeps its proportions.

Every zoom you apply is saved to the RECENT list in the sidebar. Click an entry to load that exact framing back into the preview. Click the heart to move a zoom into FAVORITES, where it stays for good.

Right-click a favorite for Bind to key, Rename, Zoom position, Sound… and Delete. The speaker icon in its row opens the sound choice directly (more in the sound section below).

Favorites also become commands in the SearchBar, under the Zoom Favorites category, so you can bind one to a shortcut or drop it into a macro. Fired from the SearchBar popup, a favorite asks where to place the zoom:

A keyboard shortcut places it the way it is saved in the favorite, and in a macro step you pick it from a list.

FLEDIT can add a sound to a zoom: a whoosh, a hit or anything you keep in your User Library. The sound lands on the timeline together with the zoom, also when the zoom comes from a shortcut, the SearchBar or a macro. Turn it on with the speaker icon next to Settings (off by default). Infinity and SET FRAME stay silent.

You arrange the sounds in Settings → AUDIO EFFECTS:

Length groups

Sounds sit in groups by zoom length, e.g. from 0.5 to 1.5 s, so a short zoom gets a short sound and a long one a long sound. + ADD LENGTH GROUP adds a group, and + ADD SOUND inside a group adds sounds from your User Library.

Order

Sounds in a group play in turn, from the top, and the next one in line carries a NEXT badge. A sound you switch off is skipped, and the Restart order icon starts the line from the top again. A zoom that fits several groups takes the sounds of all of them in turn.

Zooms longer than every group

What a zoom longer than every group gets: Use the longest group (default) or No sound.

Zoom out uses

Zoom in sounds (default), Own list for separate zoom-out sounds, or No sound.

Pan uses

No sound (default), Zoom in sounds or Own list, e.g. separate swishes for pans. What counts as a pan sets how big a scale change has to be before a move counts as a zoom rather than a pan.

Sound settings

Click a sound in the list to set its Placement (Start / Center / End, where the sound sits against the zoom), Speed, Volume, Audio preset and Label color. That is also where you trim the file, move the sound to another group or duplicate it.

A favorite's own sound. Click the speaker icon next to a favorite, or right-click → Sound…, and choose:

• Like other zooms - the next sound from AUDIO EFFECTS, while the speaker is on.
• Its own sound - always the same chosen sound, even with the speaker off. Pick it from your User Library or from your zoom sounds.
• No sound - this zoom always stays silent.

A macro step can override this: Sound: as in favorite, Sound: always or Sound: never.

The ANIMATIONS ON CLIP button at the bottom opens a list of every zoom already living on the selected clip, with its range (110% to 240%), its timecode and the number of keyframes. Each row has three buttons: Go in jumps the playhead to the start of the move, Go out to the out point, and Delete removes that whole animation - the in and the out together, in one step, along with its sound.

Settings have two tabs: GENERAL and AUDIO EFFECTS (sounds, see above).

Enter in the % field

What Enter does after you type a percentage: Keep in place leaves the box where it is, Center in frame centers it. Shift+Enter does the other one.

Zoom position

Where a new zoom sits against the playhead: it starts there (Start), is centered on it (Center) or ends there (End).

Box snapping

Magnetic guides while you draw or move the box: Off, Edges + center, or Edges + center + thirds. Hold Alt to bypass whatever you picked.

Default move style

The easing preselected for every new zoom.

Duration unit

Type transition lengths in seconds or frames.

Default duration

The starting length of every new zoom.

Sharpness guard

Warns you when the zoom pushes past what the footage can hold - the badge on the box turns orange, then red. Auto works it out from the clip's own resolution, so a 4K clip in a 1080p sequence can go to 200% without losing sharpness. You can also set the limit at 300% or 600%, or turn the warnings Off.

Live result preview

A small floating window showing the final framing while you draw. Drag it anywhere in the preview, or dock it to a side with its arrow.

After apply

Where the playhead lands once the zoom is created - jump to the end of the move, or stay in place.

Return clip to 100% scale

What the 100% button restores. Clip base value goes back to the framing you set yourself, Fit clip to frame fits the picture to the sequence frame, and Strict 100% sets the scale to 100% and centres the clip.

Wide frame shows

What the Wide view button captures. Clip base - your framing, without the FLEDIT zooms. Full frame - the raw clip without your Motion framing, and nothing changes on the timeline. A zoom drawn on the full frame starts from what you see: a clip with no keyframes first fills the frame, then zooms in.

Trail markers

Drops a marker at every zoom so you can see your zoom map on the timeline. Put them on the clip, on the sequence, or turn them Off. There's also a “trail marker” checkbox in the bottom bar to switch it per zoom.

Zoom keeps its own undo - the UNDO button in the bottom bar steps back through the zooms you applied. Use it instead of Ctrl+Z, which won't take a zoom off. You can also remove a zoom from the Animations on clip list.

If Infinity nested the clip, UNDO also undoes the nest and the original clip comes back. If you changed something in the project after the Infinity, the nest stays and you undo it in Premiere.

UNDO also takes off the zoom's sound and the Transform effect, if FLEDIT added it. A Transform you changed after the zoom stays on the clip: “Zoom reverted - Transform kept (you changed it after the zoom)”.

SearchBar

SearchBar is a tool for sending commands to Premiere. Open SearchBar, find what you need and apply it - effects, transitions, presets, clip operations, custom macros. SearchBar is really many modules in one.

• SearchBar popup - the pop-up search.
• Keyboard shortcuts - bind any function to a key.
• Macros - chain multiple commands into one.

Whatever you reach for in Premiere, you can fire it from the SearchBar. It searches across:

• Clip commands - every one-click operation from the Clip tab (the complete list is further down).
• Transitions - all of Premiere's video and audio transitions.
• Effects - all of Premiere's video and audio effects, including audio plugins (VST, VST3 and AU).
• Presets - your saved .prfpset effect presets.
• Animations - the built-in transitions and effects from the Animations tab (e.g. Push Up, CRT effect, Adjustment Layer).
• MOGRTs - both the built-in ones and the ones you've imported yourself.
• Media - clips, music and SFX from your User Library folders in the FLEDIT Animations tab.
• Macros - your own multi-step macros.

The full breakdown of each category is in the table further down.

Press Ctrl + Space (Win) or Opt + Space (Mac) to open the SearchBar popup. Type any effect, transition, preset, or command name - arrow keys to navigate, Enter to apply.

Open the SearchBar tab in the panel, find any command, click the shortcut field next to it (Not set or the current shortcut), and press your desired key combination. FLEDIT reads your active Premiere keyboard profile (.kys) and refuses to bind anything that's already used by Premiere - you'll see a clear warning explaining the conflict.

• FLEDIT also detects conflicts within its own shortcuts.
• If another app (Discord, OBS, screen-capture tools) holds the same hotkey at OS level, FLEDIT may warn that the shortcut failed to register - though this won't necessarily happen.

Macros let you turn repetitive sequences into a single step. Click Create Macro, name it, then add steps from the list. Some steps also need you to set how they behave - e.g. with time interpolation you can choose frame blending or optical flow. There's no fixed delay between steps - FLEDIT waits for each operation to actually finish before the next one fires. Bind the macro to a keyboard shortcut or run it from the SearchBar popup like any other command.

Things macros can do really well:

• Apply a multi-step look (e.g. set speed 50%, time interpolation = optical flow, nest, warp stabilizer = instant stabilised slow-mo).
• Smart targeting - the macro remembers the clip(s) you had selected, and after a step that creates something new (e.g. nesting) the freshly made clip becomes the target, so the next step lands on it.
• Import then act - if a step imports media, the inserted clip is auto-selected, so the next step (e.g. “adjust volume -10 dB”) applies straight to it.
• Media destination & trim - a media step can drop the clip onto the timeline or load it into the Source Monitor (handy for using it as an overwrite source), and you can set the media's in / out points so only that range is used.
• Premiere keyboard shortcuts as a step - a macro step can be a native Premiere Pro keyboard shortcut. FLEDIT fires those keys for you, exactly as if you'd pressed them, so you can automate anything Premiere exposes as a keyboard shortcut and chain it with FLEDIT actions.
• A transition on the clicked cut - if the first step of a macro is a transition (video or audio), you don't need to select a clip. Click the cut and run the macro. If the transition doesn't apply, the macro stops before inserting anything.
• Where media land - a media step set to Add to timeline has a list: At playhead, At transition start, Centered on transition, At FLEDIT animation start, Centered on FLEDIT animation. The transition and animation options refer to what an earlier step of the same macro added. Every transition gets its own copy of the media. If that media is already there, the copy is skipped, so running the macro again doesn't create duplicates.

Premiere’s Fit Clip dialog - Ignore Source Out Point plus Always Use This Choice.

The SearchBar popup opens via a global hotkey (default Ctrl + Space on Windows, Opt + Space on macOS). It must not match a shortcut used by Premiere. If you assign a conflicting key, the FLEDIT Monitor switches off automatically - the SearchBar popup hotkey stops working, but you can still open the panel with the Open SearchBar button. Pick a free combination and the Monitor turns back on.

FLEDIT auto-detects effects, transitions and presets every time you open the SearchBar popup or the SearchBar tab. If something brand-new doesn't show up - for instance a preset you just created - click Refresh Effects to force a rescan.

In the SearchBar tab you can double-click any item to apply it straight away - no need to select it and press Enter.

Premiere's .prfpset presets aren't limited to clips. If you have an audio chain saved as a preset, you can apply it to an audio track in the Audio Track Mixer - pick the preset in the SearchBar and target a track in the Audio Track Mixer (the Master track isn't supported). See Known Limitations for Premiere limitations around presets.

One-click operations on the selected clip(s):

Clip and time

Picture and sound

Nesting

Selecting

Markers

Tracks, project, sources

Generators

Target - FLEDIT picks Vector Motion for graphics and captions and Motion for everything else. Transform you pick by hand with the arrow keys. It only works on clips that already have that effect, because FLEDIT does not add it.

Replace animation

Off

Clips where this property has keyframes are skipped.

On

The keyframes on this property are deleted and a fixed value is set.

Your choice is remembered, even after a Premiere restart.

Two commands let you treat a long run of clips as a pattern instead of picking them one by one.

Select Every X Clip thins out a selection. Select a whole run of clips, run the command, type the interval - 2 keeps every 2nd clip, 3 every 3rd, and so on - and everything else is deselected. What remains is a normal Premiere selection you can do anything with: apply an effect, change the label colour, delete, nest.

Nest Individual Clips now asks how far to go before it runs:

All selected clips

Every selected clip becomes its own nested sequence - the original behaviour.

Every X clip...

Type an interval and only clips X, 2X, 3X... are nested. The rest are left alone.

The same choice is available when you add Nest Individual Clips as a step inside a macro, so a macro can nest every second clip and then keep working on the results.

Premiere keeps markers in two completely separate places, and FLEDIT gives you a command for each combination so you never wipe more than you meant to.

Pro extends the SearchBar with three categories that mirror your Animations tab:

• FLEDIT MOGRT - drop a built-in or user-imported MOGRT straight onto the timeline.
• FLEDIT Animations - place any built-in transition or effect on the timeline (e.g. glitch, push up, crt effect).
• FLEDIT Media - insert any media from your User Library folders (e.g. a censor beep). You pick the destination: drop it on the timeline at the playhead, or load it into the Source Monitor to use as an insert / overwrite source.

Adjustment Layer, Black Video & other generated clips - where they land. When you add a generated clip like an Adjustment Layer or Black Video, FLEDIT asks where to put it:

• Add at playhead - a default-length clip is placed at the playhead, on the first free track.
• Apply to selected clips - FLEDIT places a separate clip above each selected clip, on a free track above it, trimmed exactly to that clip's bounds. The layer follows your cuts - select a clip split into three parts and you get three separate adjustment layers, one over each piece. Ideal for e.g. color grading or an effect across the chosen shots.
• Under the clip when there is space below - an option in a macro step, with Apply to selected clips. FLEDIT puts the layer under each selected clip if there is a free track there. When there is no room, e.g. the clip sits on V1, the layer goes above the clip as before. Nothing on the timeline is ever overwritten.

Two more Pro categories come from the newer tools:

• Zoom Favorites - every zoom you starred in the Zoom tab, ready to bind to a key or drop into a macro. Fired from the SearchBar popup, it asks where to place the zoom - as saved, at the playhead, or at the clip start or end, among others (more in Zoom).
• Ease Keyframes & Anchor - Anchor Control, Ease Keyframes and Motion to Transform sit pinned at the top of the category, followed by every built-in ease curve, every curve you saved, and every anchor preset. All of them are bindable.

Export your keyboard shortcuts to a JSON file and re-import them on another computer.

When a problem occurs during an operation, FLEDIT shows a short message.

Ease Keyframes

Ease Keyframes lets you draw any curve you like - or pick one from a library - and applies it to keyframes that are already on the clip.

Playhead

Only the pair of keyframes surrounding the playhead. Park the playhead between two keyframes and ease just that move.

Whole clip

Every consecutive pair of keyframes on the clip.

In to out

Every pair that sits inside the sequence In/Out range. Set In and Out on the timeline first.

The row above the graph lists every parameter on the clip that actually has keyframes - Motion Position, Scale, Rotation, Opacity, a Transform effect, a Gaussian Blur, anything. Click a chip to include or exclude it. The small down arrow at the end of the row expands it when there are more chips than fit. When a clip carries several copies of the same effect they're numbered like Effect Controls - Transform 1 is the topmost one.

Drag the two handles for a classic bezier, or:

• Double-click the graph to switch to a multi-point curve. Double-click again to add points, double-click a point to remove it.
• Drag points anywhere. The grid snaps by default - hold Alt for free placement.
• Speed switches to a speed graph, like After Effects - the peak is the fastest moment of the move.

The Play button (next to Speed, below the graph) plays the movement in a loop so you can see it, not just the curve. A ball rides along the curve (in Speed view - along the speed graph), and the vertical bar on the right of the graph shows the movement itself: a dot travels between the start point and the target, overshoot past the target included - exactly the way the picture would move.

Pair by pair / Flow through keys / One single move

The list next to the scope decides how the curve treats a clip with many keyframes. Pair by pair - every segment between two keyframes gets the curve on its own, so the move slows down and sets off again at each keyframe. Flow through keys - one smooth curve through all the keyframes (needs at least three): the move flows through the middle keyframes without stopping at them. One single move - the whole clip as one move from the first keyframe to the last.

Smooth turns

With Flow through keys and One single move it smooths out sharp turns in the path - the picture rounds the corner instead of braking at the keyframe. Leave it off for Scale and Opacity.

Sliders below the graph

They work on the built-in shapes and change their character: how high a Bounce bounces, how many times an Elastic wobbles, how many steps Steps has, how sharp a Whip is - the slider label tells you what it changes right now. The second slider (main) sets how much time the main move takes and how much goes to what follows it - a quick arrival and long bouncing, say, or the other way round.

Mirror

Reverses the motion in time - instead of a soft start you get a soft landing, and a bounce at the end moves to the start. Click again to flip back.

Reset

Hold for a second to go back to the default curve.

100%

Graph zoom - zoom with the mouse wheel, pan with Space; click to go back to 100%.

Curve points

Click a point and you can type its exact values (time / val) and set whether it turns softly (Smooth) or sharply (Corner).

Copying a curve

You can send a curve to someone as text: Ctrl+C on the graph, Ctrl+V on their side.

“N skipped”

That many selected clips have no keyframe pair in this scope - they will be skipped.

The Presets drawer in the footer holds the built-in curves plus everything you save yourself (+ Save curve). Built-ins cover the usual suspects and a few things a two-handle bezier simply can't do:

Curves are shared across FLEDIT - the same list feeds the Ease selector in the Zoom tab and in Text Animate. Every built-in and every saved curve is also a bindable SearchBar command, so you can put “Ease: Overshoot” on a hotkey; FLEDIT then asks which detection mode to use.

In practice: park the playhead between two keyframes, solo the Position chip, pick Overshoot and apply. The same run works on several clips at once.

Anchor Control

The Anchor Point decides what a clip scales and rotates around. Move it in Premiere and the picture jumps across the screen, so you have to fix Position by hand afterwards. Anchor Control moves the anchor and compensates Position in the same breath - the picture does not move at all.

The dropdown has two groups, and the difference matters:

When a clip has more than one candidate - Motion, Vector Motion (graphics and titles), one or more Transform effects, and in graphics also Text, Shape and Group layers - chips appear above the box. Click to toggle; pick several and FLEDIT applies to each of them in turn. Each pass is its own undo step, so the undo arrow peels them back one at a time.

In the Whole frame modes the Text, Shape, Group and Vector Motion chips are red, because those layers have no frame of their own. Switch to Visible content instead. Video and stills inside a graphic are not supported.

The Presets drawer saves the whole state - mode, X/Y, chosen parameter, the shadow option. Click a preset to load it, double-click to apply it straight away, right-click to rename or delete. Saved anchors also appear in the SearchBar so you can bind them to a key.

Motion to Transform

Premiere's Motion effect cannot render motion blur. The Transform effect can. This tool moves your existing animation from one to the other in a single click, so a move you already like suddenly gets proper blur.

The animation lands on a Transform effect (added automatically if the clip doesn't have one) and the Motion keyframes are cleared, so the geometry is never counted twice. The move looks exactly the same - but now it can blur.

Position, Scale, Scale Width and Rotation are carried over. The scope is fixed to Whole clip: a partial range would leave half the animation on Motion and half on Transform.

Motion blur

Turns on the Transform effect's Shutter Angle. The stepper next to it sets the strength, 0-360; 180 is the natural, camera-like look.

Use Ease on keyframes

Moves the keyframes across with the curve from the Ease tab applied. Off means the original keyframe timing is preserved exactly.

Channel chips

The row under the scope dropdown lists what's animated on the clip - Position · 4 keys, Scale · static, Rotation · 3 keys. Lit chips move over to Transform; click one to switch it off and that channel stays on Motion instead. Position is recalculated so the picture stays identical.

Undo: the undo arrow restores the original Motion keyframes and clears everything it put on Transform.

Paste Image

Paste any image from your clipboard straight onto the timeline - screenshots, browser images - without ever leaving Premiere.

Anything in your macOS or Windows clipboard that's an image (a screenshot, or something copied from a browser) can be dropped on the timeline with one click of Paste Image - or the keyboard shortcut Ctrl + V (Windows) / Ctrl + Cmd + V (macOS). FLEDIT saves it as a PNG, imports it into your project, and places it at the playhead.

On Windows you don't even have to click the button - just press Ctrl + V and the clipboard image drops straight onto the timeline. On macOS that keyboard shortcut isn't used: macOS can hand FLEDIT the wrong item from the clipboard, so pasting uses the Ctrl + Cmd + V combination instead.

The Monitor switch at the top of the panel controls whether FLEDIT listens for that hotkey globally. Turn it off if you want Premiere's normal paste behaviour back - the FLEDIT hotkey is then disabled. If the clipboard doesn't contain an image when you trigger the paste, FLEDIT tells you so.

The Save Location setting tells FLEDIT where to copy the clipboard image on your drive. You have two options:

• Browse - pick any folder manually. The choice sticks across sessions until you change it.
• Use Project Folder - FLEDIT looks at the currently open Premiere project and creates an assets_photo subfolder right next to your .prproj file. Every pasted image goes there. Open a different project and FLEDIT creates a fresh assets_photo folder for that one too.

Import to bin chooses the destination bin in your Project panel. Default is assets_photo, which FLEDIT creates automatically the first time you paste. Pick a different bin from the dropdown, or click + New Folder to create one on the fly.

The Filename prefix field prepends a string to every pasted file's name, so you can find your screenshots in seconds. Default is Screenshot; change it to anything (e.g. Reference, ClientFeedback). Files are saved as {prefix}_{timestamp}.png.

Default - the image gets the length Premiere gives still images. Custom - you type your own length in seconds, e.g. 2 or 1.5. The arrow keys change it by 0.1 s, and by 1 s with Shift.

One Ctrl+Z (Cmd+Z) undoes the whole paste.

Timer

Track every minute you spend on a project, automatically or manually. The Timer detects which Adobe app has focus, so you can see exactly how much time went to editing in Premiere vs. animation in After Effects. Track full stats, export reports, calculate earnings.

Open a .prproj in Premiere - the Timer creates a project for it automatically and starts tracking. Defaults come from Global Settings. The link between Premiere and the Timer project is the project file path; reopening the same .prproj later resumes time tracking.

FLEDIT must be open for the Timer to run, but the Timer tab doesn't have to be visible - it tracks in the background while you work in any other FLEDIT tab.

The active project view shows everything in one place:

• Total time on this project
• Sessions logged this week
• Today's time on this project
• Tracking mode currently in use (e.g. auto/manual)
• The linked Premiere project name
• Sessions from previous days, broken down by Adobe app

Click any Adobe app on a session to expand the day's individual sessions for that app.

Open a project and click the Settings icon to edit:

Project name

Rename freely. The Timer remembers which Premiere project it was originally linked to.

Linked project

Change or unlink the .prproj currently linked to this Timer project.

Category

Assign to an existing category or create a new one.

Client

Assign to an existing client or create a new one.

Tag

e.g. long, short, advert, animation. Helps you filter later.

Billing

Hourly - FLEDIT multiplies tracked hours by your hourly rate. Flat rate - you set a fixed amount for the project; FLEDIT divides it by the time you spend, so you can see your effective hourly earnings. In the statistics the project shows up as the flat amount you entered.

Production

How many hours / GB / cameras of source material.

Finished duration

Final length of the delivered film.

Video link

URL to the published video, so you can find it again later.

Tracking mode

Automatic, Start/Stop (safe), or Start/Stop. See below.

Idle behavior

What happens when you go idle. See below.

Status - Mark completed

Marks the project as done. Reopening the .prproj (e.g. just to copy media out) won't accumulate time.

Changing the path or unlinking the .prproj from the timer project.

Change…

Change the .prproj path.

Unlink

Detach the .prproj. The timer project and all of its tracked time stay put - it simply stops auto-resuming when that .prproj is opened in Premiere.

Link

Link a .prproj to the timer project.

If the .prproj you pick is already linked to another timer project, FLEDIT detects it (“This .prproj is already linked”) and asks whether to move the link here. That project is then unlinked but keeps all of its tracked time.

Automatic

Tracks your work across the whole Adobe suite. Leaving Adobe or going idle pauses the timer; coming back resumes it. Time spent outside Adobe isn't counted at all - not even as “Other”. The threshold for stopping the time count is your idle timeout from Global Settings.

Start/Stop - safe

Manual: you click Start, you click Stop. Time spent outside Adobe while running is logged under “Other”. The “safe” part: editors often forget to start the timer after a Premiere restart, so on relaunch this mode temporarily falls back to Automatic to avoid losing time. As soon as you click Start/Stop again it returns to manual.

Start/Stop

Once stopped, no time is recorded until you click Start - even after closing and reopening Premiere. While it's running, time spent outside Adobe is logged as “Other”, just like Start/Stop - safe.

When idle is detected, you choose what to do with the time leading up to detection:

Stop at detection time

The timer stops the moment idle is detected. Example: idle timeout = 3 min. You stopped working in minute 12 - the timer stops in minute 15. Resuming work is counted from minute 15.

Subtract idle time

The timer rewinds to your last activity. Same example: you stopped working in minute 12, idle time = 3 min. The timer reaches minute 15 and rewinds to minute 12, so the “inactive” time isn't counted. But if you stopped moving the mouse in minute 12 and came back in minute 14, work simply continues - the idle time (3 min) was never reached.

An export is the one case where Automatic mode can stop even though the time should still be counted. Neither Premiere Pro nor Media Encoder gives plugins a reliable “a render is running” signal, so FLEDIT can't detect it on its own.

Render Time is the answer: a small pill next to the timer that suspends idle detection for as long as the render needs.

What it actually does. While Render Time is armed, FLEDIT treats Premiere as active no matter how long you've been away from the keyboard, so the timer never pauses and nothing gets subtracted. If the timer had already paused on idle when you armed it - say you came back just to hit Export - it starts counting again immediately.

If your computer goes to sleep or hibernates, FLEDIT closes the current interval automatically. When you wake it, time tracking resumes. Sessions logged before and after midnight are correctly split between the two dates in statistics.

Click + Add in the project view. From the dialog you can:

• Pick a date - Today, Yesterday, or any date from the picker
• Enter the time as a From-To range or as a plain duration (hours + minutes)
• Optionally write a note
• Toggle billable and choose the billing - your hourly rate or a fixed amount

The entry is labelled “Manual” in the activity log so you can tell it apart from auto-tracked time.

Every interval - auto-tracked or manual - can be edited later. Click the pencil icon next to any entry in Activity or Sessions and you can:

• Add or change a free-form note (up to 500 characters)
• Toggle billable / non-billable - the change instantly recalculates earnings and stats
• Choose how that entry is billed - by your hourly rate or as a fixed amount

Editing one entry only affects that one entry. Manually added entries can be deleted, while entries tracked automatically by the timer are read-only and can't be deleted.

Editing one logged session - note, billable, and how it's billed.

Open a different .prproj while another project is being tracked - FLEDIT does not switch automatically. A pending project banner appears asking if you want to switch. Click Switch here and tracking moves to the new project. This protects you from accidentally logging time against the wrong project when you briefly open something for reference.

The + button in the projects list lets you create a new project or a new category - useful for tracking time on something that hasn't been opened in Premiere yet, or simply when your project contains many sequences.

Go to the All Projects view - the gear icon lives there. Click it → Global Settings. Anything you set here is used as the default for every new project FLEDIT creates.

Idle timeout

After how many minutes work time stops counting.

Render Time limit

How long Render Time may hold idle detection off, from 5 to 720 minutes (default 120). Set it a little above your usual export length.

Keep timer running while processing

Transcribe, Auto Censor, Cut Silence, Text Animate and Positioning can take a while, and you don't touch the mouse in the meantime. With this on (the default), Automatic tracking keeps the timer running while FLEDIT is working, for up to the Render Time limit. Turn it off if you prefer normal idle detection.

Tracking mode

Default mode for new projects: Automatic / Start-Stop safe / Start-Stop.

Idle behavior

Stop at detection time, or Subtract idle time.

Hourly rate & currency

Default rate plus one of 50+ currencies (USD, EUR, GBP, PLN, CHF, SEK, NOK, DKK, CZK, HUF, JPY, CNY, INR, AUD, CAD, BRL, ZAR, AED, …).

Billable by default

Whether new entries are marked billable.

Hide earnings (Streamer mode)

Blurs every monetary value in the panel - rate, earnings, totals - so you can stream or screen-share without showing your money.

Tags

Manage your tag library (max 30).

Clients

Manage your client list (max 50).

Categories

Custom categories for organising projects.

Done with a project but want to keep its history? Archive it instead of deleting. Archived projects are hidden from the active list but every session, note and earning is preserved - and a single click restores them. To reach them, go to the All Projects view and click the gear icon → Archived.

Archive a project

• Right-click a project in the list → Archive, OR enter bulk edit and pick Archive from the toolbar to archive several at once.
• If the timer is currently tracking that project, it pauses immediately when you archive.
• Archived projects no longer appear in the projects list - the Archived entry in the gear menu shows a count of how many are tucked away.

Open the Archived view

From the All Projects view, open the gear menu and click Archived to switch to the archive list. You'll see every archived project grouped by category, with last-active date and total tracked time. Use ← Back to return to the active projects.

Restore

• Click the ↩ restore icon on any archived project to bring it back to the active projects list.
• Tick several with checkboxes and use the bulk Restore button at the bottom of the Archived view.

Permanent deletion (Purge)

Stats & archived projects

By default, archived projects are excluded from the Stats screen so totals reflect only active work. Flip the Archived filter at the top of the Stats screen to include them in earnings, billable hours, charts and exports.

If you open 2 instances of Premiere Pro, the timer in one of them shows a notice that time isn't being counted - that instance is in Passive mode. Time can only be counted in a single Premiere instance.

Click the statistics icon in the projects view to open the full stats screen. Pick a date range across the top:

Filter further by:

Four tabs:

Overview

Total time, earnings (per currency), project & client count, daily-activity bar chart, app breakdown, insights (most productive day, longest session, active days, average session length).

Projects

Take a close look at each project on its own - broken down by day, time spent, and hourly rate.

Clients

See which projects you worked on and how much time you spent on them for each client.

Activity

This tab shows your efficiency - which day and which hour are the most productive.

The Export button in the stats screen opens an export dialog:

Pick a scope - Current view (with the filters above), Full month, or All time - and confirm.

Duplicates

The Duplicates tab finds every clip that repeats on your timeline. It could be the same song, an SFX, or a video clip.

Open the Duplicates tab and click Scan timeline. FLEDIT walks every video and audio track and lists anything that appears more than once.

Four category toggles - Video, Music, SFX, Offline - narrow the list. Classification is automatic:

Video

Any clip with a video track.

Music

Audio clip longer than 10 seconds.

SFX

Audio clip 10 seconds or shorter.

Offline

Clips whose source file is currently offline.

The search field narrows the visible list further by clip name.

Expand a duplicate's menu and you'll see where that file appears, along with its track number (e.g. V2, A3, or V1+A1 for linked A/V). Click any timecode to move the playhead straight to that moment - no manual scrubbing needed.

Gap decides when two pieces of the same file count as two separate uses instead of one.

The same song or clip is often cut into several pieces that sit right next to each other. That's one use, not a duplicate. Gap is the distance FLEDIT needs to see between two pieces before it treats them as two.

0 s

The most sensitive setting. Any gap at all, even a single frame, counts as a new use. Pieces cut back to back with no gap between them are still treated as one.

5 s

The default. Two pieces have to sit at least 5 seconds apart to count as a duplicate.

Higher values

Flag fewer things. At 30 s, the same music at 0:10 and again at 0:25 is still one use, because the pieces are only 15 seconds apart.

Merging works across all tracks, not just one. FLEDIT lines up every fragment of the same source file by time, wherever it sits (V1, V2, A1, A2…).

Notes

Notes - write timestamped notes, paste a whole wall of client feedback and let FLEDIT split it into markers, and sync notes with the timeline markers in Premiere. Never lose track of what still needs to be done.

FLEDIT reads time references inside a note and turns them into clickable markers (one click jumps to that spot on the timeline). Paste a whole wall of feedback - it's split into separate notes, and every detected time gets its own marker. No language setting is needed: all the languages below are recognized automatically.

1. Timecodes (every language). Colon notation is language-independent:

2. Word units. Number + unit, e.g. 5 min, 2 h, 30 s, 2 hours. The space is optional (5min works too). The word list per language is below.

3. Ranges (from-to). Two times become a single range:

• By dash or symbol: 1:00 - 2:00, 1:00 ~ 2:00
• By words: from 1:00 to 2:00, od 1:00 do 2:00, de 1:00 a 2:00
• With units: from 30 s to 2 min

Supported languages. The words FLEDIT understands for “from … to”, hours, minutes and seconds:

What FLEDIT does NOT detect

• Spelled-out numbers (“half a minute”, “eine Minute”) - a digit is required (0.5 min, 30 s).
• Ratios (16:9), dates (12.06.2026) and phone numbers - skipped on purpose.

Tips

• Time at the start of a line: the rest becomes the marker's comment (2:12 fix the color = a marker at 2:12 with the note “fix the color”).
• Time in the middle of a sentence: the whole line is kept as text, and the marker is still created.
• Every detected time is its own clickable marker; pasting many lines at once auto-creates separate notes.

Each notebook is an independent set of notes. Click + Add → Create Note in the sidebar to make a new notebook and start typing. Activate any notebook by clicking it - only the active notebook syncs with timeline markers.

Group related notebooks under categories (e.g. “Client A”, “YouTube”, “Color”). Click + Add → Create Category, then either right-click a notebook → Category → pick one, or simply drag the notebook onto the category header. To drag notebooks, the sort must be set to “Custom Order”.

Right-click any notebook for the full menu: Rename, Move up, Move down, change category, or delete. You can also drag notebooks freely to reorder them within or across categories.

The ⋮ menu in the header of the open notebook starts with Open sequence, with the notebook's sequence name next to it. Click it and FLEDIT opens that sequence on the timeline. If the sequence isn't in the project, FLEDIT asks whether to open a copy of it that carries this notebook's markers or a sequence with the same name, and after you click Open it links the notebook to it. If the sequence lives in another project, it tells you which one.

Click the three vertical dots next to Notes and choose Edit. Each notebook gets a checkbox; tick the ones you want, then use Delete or Move to to act on the whole selection in one go. Click Done to leave bulk edit mode.

Open a notebook, type a note in the input field at the bottom, hit Enter or the + button. Plain text notes work too - not every entry needs a timestamp.

Whenever FLEDIT spots a timestamp inside a note, it automatically creates a marker on the timeline at that position. The full list of formats - timecodes, word units and ranges, in every supported language - is in Automatic timestamps.

Notes shines when you receive a long list of corrections from a client. Copy the whole block and paste it directly into the new-note input - FLEDIT analyses every line and finds timestamps, splits the paste into separate notes, and creates markers on the timeline automatically.

If a notebook is open and you add a marker in Premiere - either by pressing M on the timeline, or by typing a comment into a marker - FLEDIT pulls the marker's text and timecode straight into the active notebook as a new note.

Whether this pickup keeps running when you're not looking at the Notes tab is controlled by a toggle in the three-dot menu next to Notes - Capture in background:

When on

Markers you add on the timeline (via Premiere's shortcuts) are imported into the active notebook even when the Notes tab is hidden or another FLEDIT tab is active.

When off

Markers are only captured while the Notes tab is open.

No active notebook

With no notebook active, the markers stay as plain Premiere timeline markers and nothing is imported into Notes.

Click the TC button next to the new-note input to insert the playhead's current timecode. Type your description after it and hit Enter - instant timestamped note plus marker.

Already have markers on your timeline? Click the three dots in the notebook header and choose Import markers from timeline. FLEDIT reads every marker on the timeline and turns each one into a note - complete with its name and comments.

If a notebook is already active, FLEDIT asks where to put them:

Into the active notebook

The markers are merged into the notebook you're in. FLEDIT checks what's already there and only adds the ones that are missing - existing notes aren't duplicated. When everything is already present you'll just see “All markers already imported”; otherwise FLEDIT reports how many were added, merged and skipped.

Into a new notebook

FLEDIT creates a fresh notebook called “Imported Markers” containing every marker.

If no notebook is active, FLEDIT simply offers to create that new “Imported Markers” notebook.

Import always takes the markers over together with their colours, including markers that belonged to another notebook. From now on you control them from here, and the notes in that other notebook stay. Two markers in the same second with different text become two separate notes. Ctrl+Z right after the import undoes it without deleting markers from the timeline, and Ctrl+Shift+Z redoes it.

Two levels of control:

• Master toggle - the switch in the notebook header turns every marker for the active notebook on or off at once.
• Per-timestamp switch - every timestamp chip inside a note has its own small switch that shows or hides just that one marker.

Switching to another notebook hides the previous notebook's markers. They come back when you return to it.

Premiere gives markers eight colours, and FLEDIT lets you use all of them. The rule is simple: your markers keep their colours. A new marker stays in whatever colour Premiere gave it, and FLEDIT changes a marker's colour in two cases only - when you pick a colour on a timestamp chip, or when you tick a note as done.

The eight colours are Premiere's own, so a marker looks the same in FLEDIT as it does on your timeline:

1. Done colour. Open the notebook's three-dot menu and pick Default done color - the colour a marker switches to the moment you tick its note as done. Red out of the box; the dot next to the menu entry shows the current pick, and each notebook keeps its own done colour.

2. A colour for one timestamp. Right-click any timestamp chip inside a note and pick a colour just for that marker. The chip itself takes on the colour, so you can see at a glance which notes are flagged how. The same menu has Reset to default, which returns the marker to Premiere's standard colour - it appears only once that timestamp actually has a custom colour.

Colours are saved in the TXT export, so the file keeps a record of them.

Markers belong to the sequence they were created on. When you switch to a different sequence, FLEDIT hides the markers for that sequence by default - flip the master toggle on to reactivate them. The on/off state is remembered per sequence per notebook.

While a notebook is open with the master toggle on (or Capture in background is enabled), Notes mirrors the timeline live: delete a marker in Premiere - by hand or with Ctrl+Z - and the note that was captured from it disappears too. Notes you typed yourself are never removed this way; they only lose the link and their timestamp switch turns off. Redo brings the marker back, and its note comes back with it. Editing a marker in Premiere doesn't unlink it from its note.

Everything that happens outside that live window - the Notes tab closed, the master toggle off, Premiere restarted, a project reopened from an auto-save - is treated more carefully the next time the notebook connects:

• Moved, renamed or recoloured markers - the changes are merged into your notes automatically: timestamps update, texts merge, colours are picked up. Nothing to do on your side.
• Missing markers - FLEDIT never deletes notes on its own. Instead it shows a “Markers removed” dialog and lets you decide:

Remove notes

Deletes the notes that were captured from the now-missing markers. Notes you wrote yourself are always kept.

Keep and mark done

Keeps every note, ticks the affected ones as done and switches their marker links off.

Restore markers

Keeps every note and puts the missing markers back on the timeline.

Pressing Esc (or clicking outside the dialog) is always safe: all notes stay, only their dead marker links switch off.

Two sort modes via the three-dot menu:

• Sort by time - notes with a timestamp are ordered chronologically; notes without a timestamp stay where they are (FLEDIT doesn't move them to the end). You can't reorder notes manually in this mode.
• Sort manually - complete freedom. Grab the three horizontal lines at the bottom-left of any note to drag it into any position.

Tick the checkbox on a note to mark it complete. The note becomes inactive (read-only, dimmed) and its marker on the timeline switches to the notebook's done colour (Red out of the box - see Marker colours). Untick to bring it back.

Click the trash icon on the right side of any note. The note is removed and its marker disappears from the timeline at the same time. (Native Premiere markers you created yourself are never touched.)

Three-dot menu → Export as TXT. You'll get a plain text file with every note in the active notebook, prefixed with checkboxes ([x] for done, [ ] for pending). Perfect for sending a status report.

FLEDIT only ever manages the markers that belong to a notebook. Any marker you placed by hand that isn't tied to a notebook is treated as part of the timeline, not part of Notes.

“FLEDIT Helper is missing” / stuck on “Checking license...”

FLEDIT doesn't load. The panel shows either “FLEDIT Helper is missing” or a spinner that never leaves “Checking license...”. Your keyboard shortcuts stop working too.

This is what the panel looks like once the helper file has been quarantined.

FLEDIT ships a small component called FLEDITHelper.exe (on macOS: FLEDITHelper). It verifies your license and powers the global keyboard shortcuts. Some antivirus programs - most often Microsoft Defender - flag it automatically and move it to quarantine.

Open your antivirus quarantine or “threat history”, restore the file named FLEDITHelper.exe, and add the FLEDIT bin folder to the exclusion / allow list. The steps are named differently per vendor (Avast, Bitdefender, ESET, Kaspersky, Malwarebytes, Norton), but the sequence is always the same: restore, then exclude.

Reinstall FLEDIT with the original installer. Add the exclusion before launching Premiere Pro so the helper isn't quarantined again.

On macOS the equivalent problem is Gatekeeper blocking the helper after a download. FLEDIT clears this automatically on start. If the panel still can't verify the license, work through these steps:

Missing Components

The Missing Components dialog - which components are missing, and the installer download button.

The four components

FLEDIT relies on four native components - FLEDITHelper, FE_ExtendScriptLib, FE_ControlSurface and FlEditImporter. All four are required: if even one of them is missing, FLEDIT won't work properly.

If the file isn't there at all (any component)

Reinstall FLEDIT - running the installer copies all four components into the right places. Make sure Premiere Pro is fully closed before you run it.

FE_ControlSurface missing

The first time you open FLEDIT after installation, the plugin auto-registers the Control Surface with Premiere and shows an amber banner at the top of the panel:

Restart Premiere Pro - after you first launch FLEDIT following installation, you may need to restart Premiere Pro so the Control Surface is added automatically.

The banner after the first launch - restart Premiere Pro so the Control Surface activates.

macOS Permissions

macOS doesn't let apps capture keystrokes - for keyboard shortcuts (e.g. from the SearchBar popup) to work, you need to grant Accessibility permission to Adobe Premiere Pro itself - the app that runs the FLEDIT panel.

Granting access

Common Issues & Solutions

FLEDIT doesn't appear in Window → Extensions

• Restart Premiere Pro completely
• Confirm you're on Premiere Pro 2025 (v25.0) or later
• Still not working? Reinstall FLEDIT with all Adobe apps closed, then reopen Premiere

“License activation failed”

• Check internet connection
• Copy-paste the key from your Gumroad email (avoid typos)
• If you see license_invalid, the key is not valid - make sure you pasted it in full (no extra spaces) and that it matches this product.
• Exceeded your machine limit? FLEDIT shows a window of all devices using your key - remove one you no longer use to free a slot
• Stuck on “Checking license...” and never getting to the key screen? That's usually your antivirus quarantining the FLEDIT helper - see Helper Blocked by Antivirus.

SearchBar popup doesn't open

• Check for hotkey conflicts with other apps (Discord, OBS, screen-capture tools)
• On macOS the SearchBar popup defaults to Opt + Space; if you rebind it, avoid combinations the OS already owns (e.g. Spotlight's Cmd + Space)
• “X shortcuts failed to register” = another app is blocking those keys at OS level
• If the FLEDIT Monitor switched off, your hotkey conflicts with Premiere - pick a different one and the Monitor turns back on

SearchBar shortcut conflicts with Premiere

FLEDIT reads your Premiere keyboard profile (.kys) and blocks conflicting shortcuts. Two options: change the binding in Premiere's Edit → Keyboard Shortcuts, or pick a different key in FLEDIT. A key you set inside FLEDIT applies right away - but if you change shortcuts or switch keyboard profiles on the Premiere side, restart Premiere Pro so the .kys updates and FLEDIT picks up the change.

Timer: wrong time / doesn't start

• Check the Tracking mode in project settings
• Automatic mode: ensure Premiere has focus - idle pauses tracking after the idle time. Rendering isn't detected as activity, so before a long export hold the Render Time pill for 1.5 seconds. The timer then keeps counting for the whole export.
• “Passive mode” = another Premiere instance controls the Timer.
• Project marked completed? Mark it active again to resume tracking

Pasted screenshots end up in the wrong folder

• Check the Save Location setting in the Paste Image tab
• “Use Project Folder” only works after the project is saved at least once
• Check the Import to bin dropdown for the destination bin in the Project panel.

Transitions don't scale correctly

FLEDIT reads sequence resolution for auto-scaling. Non-standard sequences may need a manual adjustment in Effect Controls.

Focus flickers between the timeline and FLEDIT while you drag media

When you drag a file that has both video and audio, focus briefly jumps between the timeline and the FLEDIT panel. This is deliberate - FLEDIT activates the timeline for a moment so Premiere accepts the clip with video and audio (not audio only), then hands focus back.

“The importer reported a generic error”

Corrupted media cache. Edit → Preferences → Media Cache → Delete, restart Premiere.

Macro stops halfway through

• Macros wait for each step to finish before the next runs - check that each step actually has something to run correctly on (a selected clip, an open sequence, available media)
• A few commands can't be used as macro steps - FLEDIT hides those automatically, so anything you can see in the step list will run. Nest Clips, Nest Individual Clips and Unnest Sequence all work inside a macro.
• Steps that fail (e.g. no clip selected) are skipped and the macro continues
• The timeline can be very “heavy”, so a macro may need more time to finish

Known Limitations

Performance on very large projects

The limit here is the platform. CEP - the extension system Premiere gives me - caps how fast any extension can run. I've optimised FLEDIT heavily and I'll keep doing so, but on very large projects you will notice it: an animation can take longer to import, and some SearchBar actions run slower than they would on a regular timeline.

Export / render time isn't detected automatically

Neither Premiere Pro nor Media Encoder exposes a reliable signal that a render or export is in progress, so the Timer can't detect one by itself. During a long export with no keyboard or mouse input, Automatic mode would treat you as idle and stop counting.

The workaround is built in: hold the Render Time pill next to the timer for 1.5 seconds before you export, and idle detection is suspended until the render finishes or the limit runs out. You can also switch the project to a Start/Stop tracking mode, which keeps running until you stop it by hand.

Undo & History States

FLEDIT runs its own dedicated undo system (Undo/Redo). For it to work as well as possible, set more history steps in Premiere. Open Premiere's History panel, click the three-line menu next to the History tab → Settings, and set History States to 100.

SearchBar on macOS

If you assign e.g. Command + Space to the SearchBar popup, Spotlight stops being triggered inside Premiere. If you run into this, just change the bind that uses a keyboard shortcut already used by the system / another app.

User MOGRT previews

Preview thumbnails and videos come from inside the .mogrt file. You can't provide custom previews. No embedded preview = a placeholder is shown.

Drag previews are single-track

While you drag a transition or effect from the Animations tab, the preview that follows the cursor carries one video and one audio track. Transitions built from several layers therefore look single-track while dragging - on drop, FLEDIT inserts the full version.

Premiere markers and ripple

Premiere markers don't shift when you cut the timeline unless you use ripple-aware edits. If you receive a lot of feedback, work from the end of the timeline so earlier timestamps stay in the right place. After many changes, adjust markers if needed.

Presets - Premiere limitations

Premiere's .prfpset preset system has a few known limitations:

• Parameters set through a graphical control often don't carry over - e.g. the RGB wheels or curves in Lumetri Color, and anything else you adjust visually rather than by typing a value. Fortunately, there aren't many such effects.
• Presets made from transitions applied onto clips (e.g. Pop Motion).
• Keyframe interpolation such as velocity (ease in / out) doesn't transfer 1:1 - the plugin tries to reproduce the motion as closely as it can, but this is a limitation on Premiere's side.

I'm hopeful this can be solved in the future.

FAQ

Contact & Support

Need help? Reach out and I'll get back to you.

Email

support@fledit.com

Discord

Join the Discord