The scissors button on a playlist card now builds a sequence. Every cut in the playlist lands on a new timeline in playlist order, butt-joined at its exact frame position, ready to trim. Until this release the panel could get media into your project bin and then leave the assembly to you.
That was the weak point of the Creative Cloud integration we shipped in February. An editor could find the right moments in Ceivo and pull them into Premiere Pro, then rebuild by hand an order the playlist already held. The selection work was finished and the panel wasn't acting on it.
Two buttons, two jobs
The scissors button assembles: it creates a sequence named after the playlist and places each cut where the playlist says it goes. The plus button imports, pulling whole source files into your project bin, which is still what you want when you plan to work from the full masters rather than the selection. That second behavior is unchanged. It just stopped being the only option.
Only the frames the cut needs
Behind the scissors button, the panel asks Ceivo to render each cut server-side and downloads that render instead of the file it came from. A cut that runs a few seconds now costs a few seconds of transfer rather than the multi-hour master it was taken from.
Not every cut can be extracted. Server-side extraction is anchored to a detected scene, and a playlist segment is just a pair of timecodes pointing into a master, so the panel matches segments back to scenes by their timecodes. It only accepts a match when the scene actually contains the segment, and it refuses to stitch three scenes together to cover one long segment, because three concatenated renders are a different edit from one continuous range.
Anything that doesn't match cleanly falls back to its parent master with in and out points, so the sequence still matches the playlist exactly. The card reports how many cuts took that path, as in "Added (2 full source)", so you know which ones to spot-check without digging through a log.
The same extraction now runs when you add a single scene from search results. Previously a scene result downloaded the whole file it belonged to.
Frames, not seconds
Sequence assembly is done in exact frame arithmetic. Frame rates are treated as rationals, so 29.97 is 30000/1001 rather than a decimal that drifts once a master runs to an hour, and timeline positions are integer sums rather than independently rounded offsets. The practical effect is that butt-joints are exact by construction. The old approach could leave a one-frame gap or overlap at a cut, and those compound across a long playlist.
There's a frame rate picker in the panel header. Left on fps: auto it reads the rate from your active sequence. You can also pin it to anything from 23.976 to 60 when you're building a timeline that doesn't exist yet.
The sequence itself arrives as FCP7 XML, the interchange format Premiere Pro's importer reads.
Proxy or master, and the panel remembers
A dl: picker now sits in the Search, Library and Playlists headers, and it governs every download the panel makes. Change it in one place and the other pickers follow.
Proxy is the default because masters arrive in whatever codec was uploaded, and Premiere Pro cannot decode all of them. An audio codec Premiere doesn't support will import as offline media even though the file itself is intact. Proxies are transcoded during analysis, so they are smaller and reliably decodable. They are also lower resolution, so switch to master when you're finishing. If a proxy is missing or unreadable, the panel falls back to the master rather than failing the import.
Thumbnails that survive a restart
Ceivo hands out signed thumbnail URLs that expire after about an hour, which used to mean a panel reopened the next morning sat on gray placeholders until every image was fetched again. The panel now caches the image bytes locally, so thumbnails render instantly on reopen and keep rendering with no network at all. The cache is capped and evicts the oldest entries, and if the filesystem is unavailable the panel quietly falls back to memory for the session.
Playlist cards also load their thumbnails as they come into view rather than all at once. With fifty cards on screen, the visible ones no longer wait behind the rest. Each card's strip is now proportional to cut duration, and hovering a cell shows that cut's timecodes.
Smaller things that add up
- Search, library, recent and favorites lists no longer drop their first result. An off-by-one in how pages were requested was quietly hiding one item per page.
- The "find similar" button only appears on cards that have related assets, instead of opening an empty panel.
- A home button in the search bar returns you to Recent.
- File type filters in the Library, Recent and Favorites views.
- Cached credentials are encrypted at rest, and signing out now clears panel state properly.
- Multiple accounts, with organization switching between them.
- Paging on Recent and Favorites, so long lists load in chunks.
- Progress messages during an assembly report the phase and a running count, so a long download doesn't look like a hang.
- Login errors now tell you what to do about them rather than naming the encoding that failed.
Why this update matters
The panel used to shorten the search. This release shortens the assembly, which is the part editors were still doing by hand. A producer builds a playlist in Ceivo, an editor clicks one button, and the cuts arrive on a timeline in the right order at the right frames. Only the media those cuts need comes down the wire. What's left is the editing.
The panel requires Premiere Pro 25.6 or later, and it's available now on Adobe's Marketplace. Get in touch if you'd like a walkthrough against your own library.