Adobe Premiere Pro and After Effects – What’s New In Version 25.2?

Introduction

On Wednesday, April 2, Adobe released the latest Premiere Pro and After Effects update, version 25.2, which is now available to download in Creative Cloud. This update builds on version 25.1, which debuted back in December 2024, bringing several features first announced at Adobe MAX 2024 out of beta. Users can expect support for new hardware and media types, creative tools, and improved features to give them a smoother experience in Premiere Pro and After Effects. While not every update in version 25.2 will be covered in this post, we’ll focus on specific updates relevant to hardware and software performance, as these changes may influence the type of systems we recommend for Premiere Pro and After Effects going forward.

Premiere Pro 25.2 Updates

A few features announced in this update, such as Generative Extend AI, the enhanced Search panel with Media Intelligence, and the redesigned color management system, might influence an editor’s decision to download Premiere Pro version 25.2 today. However, users may need time to tinker and adjust to these updates.

As with any update, there is the potential for bugs, especially in the early days of release. If users encounter issues, they can refer to the Adobe Community forums for Premiere Pro or check our log at the end of this post for any bugs flagged to the development team.

Media Intelligence and Search Panel

Premiere Pro’s Media Intelligence and Search Panel features work together but serve separate functions. Media Intelligence is an AI-powered tool that analyzes footage locally on the user’s system, processing the footage to generate metadata for tagging and categorization. Media Intelligence utilizes the CPU and GPU to decode footage, with decoding performance dependent on specific hardware components within a system as well as the media type being processed (e.g., RAW, Intraframe, LongGOP). After Media Intelligence analyzes the footage, the metadata generated enables the Search Panel to quickly locate specific elements, like clips or soundbites, with descriptive search terms. To learn more about Media Intelligence, refer to our blog post from February.

No Hardware-Accelerated 4:2:2 Support for Blackwell GPUs

Since NVIDIA launched the GeForce RTX™ 50-series GPUs in January 2025, users have been awaiting hardware-accelerated decoding and encoding support for 4:2:2 chroma subsampled footage in Premiere Pro. This is significant because the Blackwell architecture of the RTX 50 Series is the first-ever media engine to offer hardware acceleration for H.264 10-bit 4:2:2, a commonly used recording format in professional cameras. However, before the launch, NVIDIA did not provide independent software vendors (ISVs) like Adobe with early access to the necessary GPUs and SDKs, which delayed integration. Before Blackwell, Intel’s Quick Sync technology was the only media engine to decode 4:2:2 chroma subsampled footage, albeit only in an HEVC (H.265) codec flavor. While Intel’s Quick Sync supports HEVC 10-bit 4:2:2, it lacks support for H.264 10-bit 4:2:2, making NVIDIA’s NVDEC and NVENC media engines the only option for decoding and encoding this footage format.

Previously, Premiere Pro relied on brute-force processing for H.264 10-bit 4:2:2, which throttled the CPU and diminished playback performance from the display monitor. With the new media engine in the RTX 50 Series GPUs, this process is now hardware-accelerated, reducing CPU strain and improving performance during playback and editing by utilizing the media engines within the GPU. Despite this, Premiere Pro version 25.2 still does not support Blackwell for hardware-accelerated decoding and encoding. Adobe has confirmed that this functionality will be introduced later this year, but users looking to test RTX 50 Series hardware acceleration can access preliminary support in Premiere Pro Beta version 25.3.

Added Footage Support

Premiere Pro continues to support new media formats, reflecting the increasing variety of codecs and recording formats used in modern cameras and post-production pipelines. While Premiere Pro already supports various video and audio formats, playback performance can differ based on how each media format is processed, the hardware configurations of the user’s system, and how Premiere is programmed to process that media.

In version 25.2, Premiere Pro introduces support for H.264/AAC .MKV files, commonly generated by applications like OBS Studio. It also now supports ARRIRAW SDK 8.3.1, which lets users edit ALEXA 265 footage recorded in the 65mm format at a 6.5K Open Gate resolution, complementing existing support for footage recorded in AMIRA, ALEXA 35, and ALEXA LF formats. Lastly, while not yet available in this release, future support for Nikon N-RAW will allow editors working with Nikon cameras and RED Cinema Cameras to debayer, process, and edit N-RAW footage directly in Premiere Pro. This is particularly beneficial when paired with the improved color management system, which provides shooters, editors, and colorists greater flexibility in grading different RAW and LOG footage types within Premiere Pro.

Color Management

In September 2024, Adobe announced a new color management system for Premiere Pro – which is now available in version 25.2. This updated system automatically assigns a sequence’s color space, such as SDR, HDR PQ, or HLG, based on the footage imported. A wide-gamut color space based on ACEScct, a variant of the Academy Color Encoding System (ACES), is included in this update, letting editors and colorists work with HDR content. It’s important to note that color values displayed on a monitor are GPU-accelerated and can be enabled through the Display Color Management preferences. To ensure accurate color representation, users should confirm that their system’s hardware supports this feature and that the monitor is correctly calibrated for color accuracy.

The updated color management system also includes new color space presets in Sequence Settings, allowing users to select between Rec.709 or another color space manually. Alternatively, users can rely on the automated color management system to choose the most suitable color space based on the footage. That automation can be turned off for those who prefer complete control of their color grading workflows.

Lastly, Lumetri Color is now color space aware in version 25.2, which automatically adjusts the color space of both the footage and sequence. This reduces the need for editors and colorists to manually apply the correct color space and LUT, mainly when working with footage whose recording specifications are unclear.

Generative Extend

Generative Extend, powered by Adobe Firefly, was first introduced at Adobe MAX 2024 as a cloud-based tool designed to generate additional content from an existing image or video clip. This tool is handy when footage falls short at the head or tail end of a sequence, letting users ‘extend’ up to two additional seconds of footage based on the last frame of reference by utilizing the Firefly AI Video Model. It is important to note that this process is handled via Adobe’s servers, not locally on the user’s system, meaning the footage being processed is subject to Adobe’s machine learning to generate content. However, Adobe states that footage uploaded via Generative Extend is not used to train its machine-learning model.

While Generative Extend is an impressive tool for editors that can save them in the edit, it’s important to consider the generated content’s limitations regarding image quality and processing. Adobe provides specific parameters for the source media for Generative Extend to work properly. Notably, the video outputs are generated in 8-bit SDR format, likely with 4:2:0 chroma subsampling, and are compatible with frame rates ranging from 12fps to 30fps.

For footage outside these parameters, it’s best to use Generative Extend at the end of the edit. Using it earlier in the editing process may result in image quality discrepancies. Because the generated frames are 8-bit SDR, they can conflict with source media recorded in 10-bit or 12-bit with 4:2:2 or 4:4:4 chroma subsampling formats. We recommend first color grading the footage (to preserve all color data within the color space) and encoding a media file closer to the final product. Then, substitute the original media (in a duplicate sequence) to match the supported parameters. For example, when working with 4K 10-bit 4:2:2 footage at 60fps, the process would involve color grading the footage, exporting it to a 4K 30fps file in 8-bit depth, and then replacing the original media with the newly exported file. Finally, use the last frame to generate the final frames with Generative Extend. While there may be alternative workflows, this approach ensures Generative Extend processes the footage efficiently, producing visuals that align more closely with the final output and minimizing discrepancies in image quality.

After Effects 25.2 Updates

The After Effects version 25.2 update introduces various features designed to enhance the user experience for animators, compositors, and motion designers. Customization options such as adjustable panel background colors, custom transparency grids, and HDR Preview support improve the visibility and clarity of compositions in Preview. This release also simplifies setting up rigs and animating elements with improved null creation commands that reduce the number of steps required to link and organize layers. Additionally, the revamped Properties panel now includes dedicated animation controls, reducing the need to navigate multiple menus to manage 2D and 3D layers.

While some features in After Effects version 25.2 focus on simplifying creative tasks and workflows, others have a broader impact on 3D artists and AE users – particularly with regard to hardware performance and the creative workflow pipeline. Animated Environment Lights and FBX File Import support enhance After Effects’ ability to integrate 2D and 3D assets from other platforms, making it easier to work with 3D layers. High Performance Preview Playback optimizes RAM and disk cache utilization to lower the hardware threshold needed for playback of longer compositions.

As with any update, users may encounter bugs in the early days of release. If issues arise, refer to the Adobe Community forums for After Effects or check our log at the end of this post for any bugs flagged to the development team

Animated Environment Lights

Animated Environment Lights adjust the lighting and color of a scene in response to changes in 2D and 3D assets within that scene. Users can assign any 2D image or 3D object as a light source, updating lighting behavior in real time as objects shift in position, scale, or rotation, which makes 3D objects in the composition feel “realistically” placed, with lights and shadows adjusting based on their position and how the light source interacts with them. For example, as a 3D camera moves through a scene, colors, shadows, and reflections automatically adjust how the source environment light interacts with the 3D object as its positioning in the frame creates different lighting behavior. This feature reduces the need for tedious and repetitive tasks of manually adjusting the behaviors of color, light, and shadows within a scene.

To accomplish this, Animated Environment Lights utilizes the Advanced 3D Renderer to process 3D scenes, leveraging GPU acceleration to render 3D objects, layers, and lighting within the composition. This integration enables near real-time Preview playback, even in complex scenes with multiple 3D layers and elements. By utilizing the GPU to compute lighting interactions with 3D objects, any changes within the composition, whether related to object movement or lighting adjustments, are processed more responsively.

FBX File Import Support

FBX file import support in version 25.2 allows users to import 3D models, animations, and other assets from third-party programs into their compositions. For Adobe Substance 3D users, this integration streamlines the process of bringing textures, materials, and 3D objects into After Effects. Unlike resource-heavy programs like Maya, Blender, or Houdini, After Effects offers a lightweight solution for integrating 3D assets and animations, catering to artists who don’t require the complexity and processing power of full-scale 3D applications. With FBX support, After Effects adds a flexible tool for 3D workflows, reducing the need for the heavy processing demands typically associated with more resource-intensive software.

High-Performance Preview Playback

High-Performance Preview Playback (HPPP) is a revamped method for processing and playing back compositions in Preview. In version 25.2, HPPP changes Preview playback by streaming cached frames from disk cache to RAM. This update reduces the need for large amounts of memory to play back longer or higher-resolution compositions. Before version 25.2, After Effects was programmed to playback compositions in Preview by storing cached frames only in RAM. While having larger RAM capacities still benefits certain users, this functional shift lowers the hardware requirements for Preview playback, benefiting those with systems that have smaller memory capacities. Users should now prioritize SSDs with fast read/write speeds and capacities in addition to RAM capacity when configuring hardware for After Effects. Refer to our post in February about High-Performance Preview Playback to learn more about HPPP and how it might affect hardware choices and workflows.

Conclusion

While some users may hold off updating to After Effects and Premiere Pro version 25.2 until it is more stable, this release offers meaningful tools and performance improvements worth a closer look. It’s best to download the latest version of these applications for those who have recently upgraded their systems, as the developers at Adobe continuously work to program Premiere Pro and After Effects to be compatible with the latest hardware and industry-standard workflows. Not all features announced in version 25.2 will benefit every user and workflow. Still, the value of updating often extends beyond new tools or performance gains, as staying up to date minimizes the learning curve. Although updates can bring interface changes that may be frustrating to adapt to, these changes tend to reshape how users interact with the application over time. While the learning curve can be frustrating, it’s necessary to fully utilize the newest tools and features and benefit from improved software and hardware compatibility, particularly as Adobe continues refining how these applications operate across modern systems.

For those who have been waiting to upgrade their systems to take full advantage of these new features, reach out to one of our consultants to identify the necessary components to optimize Premiere Pro and After Effects for the latest updates Adobe has introduced.

Log of Known Issues

Premiere Pro
4/4/2025

• Issue loading ARRIRAW media when opening a project file from version 25.0/25.1 in version 25.2. Fix is to delete media cache and re-open the project.

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