Notes into the edit
Import client feedback into Premiere Pro as markers.
Every note lands at the frame it was written on.
A revision pass should start at the frame the client was looking at, not at the top of an email. The Premiere panel pulls the review room's notes over the network and writes them onto the open timeline as native markers, one per note, at that note's timecode. Red means the note is open. Green means it is done.
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What the panel does
The notes come to the timeline,
not to a second screen.
A client note is only useful at the frame it belongs to. Everything between the note and that frame is friction: reading, translating a time into a timecode, scrubbing, guessing. The panel removes the whole middle by writing the notes into the sequence as markers.
It is an extension you install
The panel is a signed .zxp extension you download and install yourself. The signature is the studio's own, not Adobe's, and it is not distributed through the Adobe Exchange. One deliberate install, then it sits with your other panels in Premiere.
It pulls the notes over the network
There is nothing to export by hand. The panel reaches the review room directly and reads the notes as they stand at that moment, which is why a note left by a client an hour ago shows up on the next sync.
It writes native markers
Not an overlay, not a floating list. One Premiere timeline marker per note, positioned at that note's timecode, in the same marker system you already navigate with.
Colour carries state
Red for an open note. Green for a note marked done. The sequence shows you what is left without opening anything else, which is the whole reason to put the notes there in the first place.
Install and first sync
Once through the install,
then the notes are one click away.
Download the panel
Get the .zxp from your account. It is signed, and the signature is ours, so treat it the way you would treat any extension you install outside a marketplace: download it from us, not from a mirror.
Install the extension
A .zxp is installed with an extension installer rather than from within Premiere itself. Because the signature is the studio's own rather than Adobe's, this step is manual by design. Restart Premiere afterwards.
Open the panel next to your sequence
It appears with Premiere's other extensions. Dock it wherever your notes would otherwise be, which for most editors is the space a second window used to take up.
Sync the film you are cutting
Point the panel at the film in the review room and sync. The notes come across the network and land on the open timeline as markers, each at its own timecode, red for open and green for done.
1
marker per note
Placed at the timecode the note was written against
Red
an open note
Still waiting on a change in the edit
Green
a note marked done
Cleared in the room, so cleared on the timeline
0
of your markers touched
The panel only reads and refreshes the markers it tagged
The part editors ask about first
Your own markers
are none of the panel’s business.
Editors mark up a timeline for their own reasons. A music hit to land on. A shot waiting on a VFX turnaround. A note to yourself about a jump cut you are not sure about yet. Any tool that writes into that same marker track is asking for a lot of trust, and most editors have been burned once by something that cleared a track it did not own.
The panel tags every marker it creates. A later sync looks for that tag, refreshes those markers in place, and leaves everything else exactly where it is. That is the mechanism, and it is worth stating plainly rather than burying: the panel never touches a marker you made yourself. It also means round two does not double the markers. The client notes are updated where they already sit instead of a second set landing on top of the first.
Why refreshing in place matters more than it sounds
What this replaces
Three ways editors do this today,
all of them fail at the same step.
Nobody chooses to retype timecodes. It happens because the notes live in one place and the edit lives in another, and something has to bridge the gap. Every bridge below is a person doing it by hand, and each one breaks somewhere specific.
All three columns are doing the same job: getting a client note to the frame it belongs to. The panel is a signed .zxp you install yourself rather than a marketplace install, so it costs one setup that the other two columns do not.
The spreadsheet deserves its own line, because it is the workflow that looks the most organised and hides the most work. A shared sheet with a timecode column does fix the ambiguity of an email, and on a big job it is genuinely better than a thread. What it never fixes is the last hop. The timecodes still have to be entered into Premiere by a human, one row at a time, and the done column in the sheet has no relationship to anything in your sequence. You end up maintaining two records of the same round and reconciling them at the end.
The second monitor is the honest one. Nothing is transcribed, so nothing is mistyped, and for a short pass with four notes it is completely reasonable. It stops scaling the moment the list is long, because every note costs a look away, a read, a look back and a scrub. Twenty notes is twenty context switches, and the notes at the bottom of a long list get less attention than the ones at the top for no reason other than fatigue.
Across revision rounds
Notes group into rounds,
and the timeline shows the round you are in.
In the room, notes thread into replies, carry a done flag and group into review rounds. That structure is what makes a second sync meaningful rather than noisy. The panel is not dumping a transcript of everything ever said about the film onto your sequence. It is reflecting where the notes stand.
The working loop is short. The client comments in the room, anchored to a timecode. You open the panel in Premiere and sync, and the notes appear as red markers down the sequence. You work from marker to marker, making the changes, and mark each note done as you clear it. Sync again and the markers you cleared come back green, leaving the reds as the only thing still asking for your attention. When the reds are gone, the round is done in the same sense the client means it.
One thing to be clear about, because it is the difference between a review tool and a note list. Approval in the room is recorded per version, by name, and posting a new note on an approved cut revokes that approval. The markers on your timeline reflect the notes; they do not carry the approval decision itself. When you upload the new cut, the room is where the client signs off on it. The review and approval guide covers that side of the workflow, and timecoded comments covers what makes a note anchor to a frame in the first place.
Where this is not worth it
Three honest limits,
and two reasons to skip it.
It is an extension, and you install it. Because the .zxp is signed with the studio’s own certificate rather than distributed through the Adobe Exchange, the install is a deliberate step rather than a one-click marketplace action. That is a real difference in friction, and it is the first thing to weigh. If installing an extension on a locked-down machine at a facility is not something you can do, this workflow is not available to you, and no amount of describing it will change that.
It only helps the part of the job that happens in Premiere. The client still reviews in the room, the drawings still live there, the replies still live there, and the approval is still recorded there. The panel moves the notes to where you are cutting; it does not move the review.
And it is not worth the setup for everyone. An editor who takes two notes per job, on the phone, and clears them in an afternoon does not need markers written for them. Neither does a one-round job where the client says the whole thing looks good. The panel earns its install on the work that has three rounds, fifteen notes a round, and a client who expects the note at 04:12 to have been addressed at 04:12. If that is not your work, stay with the second monitor. It is free and it is honest.
Questions
Frequently asked
Does the panel import a file I export from the review room?
No. It pulls the notes over the network from the room itself. There is no CSV to export, no XML to hand over and no file to keep in sync, so a note added while you were editing arrives on the next sync rather than in the next export.
Will it delete or move the markers I made myself?
No. The panel tags the markers it creates, and a later sync only refreshes markers carrying that tag. Your own markers, whatever you use them for, are outside what the panel reads and writes. This is the point most editors check first, and it is the right thing to check.
What do the marker colours mean?
Colour carries the state of the note. Red is an open note. Green is a note that has been marked done. Sync again after a working session and the markers you have cleared change colour on the timeline, so what is left to do is visible in the sequence rather than in a separate list.
Is this on the Adobe Exchange?
No. The panel is a signed .zxp extension that you download and install yourself, and the signature is our own rather than Adobe's. That means installation is a deliberate step you take once, not a one-click marketplace install. It is the honest cost of the workflow and it is worth knowing before you start.
What about a note the client drew on the frame?
The drawing is stored with the note in the room, alongside the reply thread and any reactions. The marker gets you to the exact frame; the room is where you look at what was circled. In practice the two sit side by side, with the marker driving the playhead and the room answering what the note meant.
Does it work across several rounds of revisions?
Yes. Notes group into review rounds and each note carries a done flag, so a sync reflects where the job actually stands rather than replaying every note ever written. Refreshing in place is what makes round three usable: the timeline stops being a pile of markers from three different weeks.
I work in DaVinci Resolve. Is there an equivalent?
Yes, a Resolve script that does the same job: it pulls the room's notes and writes timeline markers, red for open and green for done. The Resolve guide covers how that one differs from the Premiere panel.
Run one round with the notes on the timeline
The review room is on every plan, the free one included. Send one link, collect timecoded notes, then pull them into Premiere as markers and work down the list.