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Adobe Premiere Pro earns its status as industry-standard video editing software, thanks to its familiar nonlinear editing interface, unmatched ecosystem of tools, and powerful capabilities. Since our last look at the massive application, it has added: the Auto Reframe tool; enhanced HDR support; new text, graphics, and audio tools; performance improvements; and many other features. All of this makes Premiere well worthy of an Editors’ Choice award for professional-level video editing software.

Premiere Pro is now only available by subscription. The program by itself costs $20.99 monthly with an annual commitment or $31.49 month-to-month. If you pay $239.88 for a full year upfront it works out to $19.99 per month. You can get it as part of the complete suite of Adobe Creative Cloud professional applications for $52.99 per month ($74.99 month-to-month). A free 30-day trial option lets you kick its tires. Business customers pay more, at $33.99 per month per license; this adds enhanced support, management, and collaboration options.

Because Premiere is sold as a subscription, not only is the immediate dent on your pocketbook lessened (prior to the subscription pricing plan, you had to plunk down $799.99), but the application is constantly updated with improvements and new capabilities. When you install Premiere, you also get Adobe Media Encoder, which converts output to a wide variety of formats for online and broadcast.

The cross-platform program runs on macOS 10.14 or later and on Windows 10 version 1803 or later, with the 64-bit versions required. It also requires a minimum of 8GB of RAM (16GB recommended), and a 1,280-by-800 display. You can run Premiere Pro on an Apple Silicon M1-based Mac, though, as the support page states: ”Native support for Apple M1 CPUs is not yet available but you can run Premiere Pro in Rosetta 2 emulation mode on Apple M1 devices.” Adobe states on its Apple Silicon M1 support page that it’s actively working on giving its apps native compatibility.


What’s New in Premiere Pro?

It’s been a while since we last updated this review, and Adobe does a big update at least once a year. Below are the most recent updates.

Caption Tools. A new captioning workflow makes it easier to add, split, and format captions, and an update later this year will bring automatic transcription (currently in beta).

Media Replacement in Motion Graphics Templates. Easily drop your own media into pre-built templates to customize effects. For example, replace a logo and text in a motion graphic template for an intro.

Copy and Paste Audio Effects. You can now copy combined audio effects and paste them to another audio clip rather than doing so for each effect separately. Some legacy audio effects have been replaced, so you have to update projects with the new ones.

Hardware decoding for AMD and NVIDIA GPUs on Windows. Faster playback and more responsive timeline performance for the widely used H.264 and HEVC formats


While Apple made a drastic break with the past when it updated Final Cut Pro X, Adobe continues to take an incremental approach, by polishing the interface and adding state-of-the-art tools to its professional video editing software. Longtime pro video editors who are used to traditional nonlinear digital video editing will applaud Premiere’s familiar approach, but Final Cut, in its favor, offers innovative tools like Connected Clips, Auditions, and a Trackless Timeline that can ease organizing and editing.

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A good portion of video editors prefer working on Apple Macintosh computers, so naturally Premiere Pro is available on that platform. It runs on the new Apple M1-based computers with the help of Rosetta 2, though not natively. The macOS version matches the Windows 10 version feature-for-feature, so anything you read below or above applies to both. Except for performance: I tested the macOS version on a 3.1GHz MacBook with Intel Core i5 and 8GB RAM, which is admittedly not a video-editing powerhouse.

My test project (see Performance section below) took Premiere Pro 2:31 (min:sec) to render on the test MacBook Pro. That compares favorably with Premiere Elements’ 7:31, but not so much with CyberLink PowerDirector (that app recently brought out a macOS version), which did the deed in a mere 57 seconds. Final Cut Pro took 3:55 in two tests, but then suffered system instabilities.


Premiere Pro has an attractive, flexible interface. The startup view helps you quickly get to projects you’ve been working on, start new projects, or search for Adobe Stock footage. The dark program window makes your clips the center of attention, and you can switch among workspaces for Assembly, Editing, Color, Effects, Audio, and Titles. You can edit these or create your own custom workspaces, and even pull off any of the panels and float them wherever you want on your display(s). You can create content bins based on search terms, too.

One thing missing from the interface is a permanent search box for finding commands, content, or help; other major apps, including Adobe’s own Photoshop and Microsoft Office, now include this helpful interface element.By default, the editor uses a four-panel layout, with the source preview at top left, a project preview at top right, your project assets at lower-left, and the timeline tracks along the lower right. You can add and remove control buttons to taste; Adobe has removed a bunch by default for a cleaner interface. Since many editors rely on keyboard shortcuts like J, K, and L for navigating through a project, fewer buttons and a cleaner screen make a lot of sense. It’s a very flexible interface, and you can undock and drag around windows to your heart’s content. Here’s another helpful feature: When you hover the mouse over a clip in the source panel, it scrubs through the video.

Premiere Pro is touch-friendly and lets you move clips and timeline elements around with a finger or tap buttons. You can also pinch-zoom the timeline or video preview window. You can even set in and out points with a tap on thumbnails in the source bin. Final Cut supports the MacBook Pro with Touch Bar, but I prefer the on-screen touch capability, since, unlike the Touch Bar, the touch screen doesn’t require you to take your eyes off the screen and therefore your video project.

If you’re moving up from the consumer-level Adobe Premiere Elements, you can import your projects, especially since they use the same .PREL file format. But note that you may lose some effects, even things like image filters and motion tracking.

Trimming Project Clips

Premiere Pro continues to offer the four edit types that sound like they belong at a waterpark—Roll, Ripple, Slip, and Slide—and adds a Regular Trim mode. They’re all clearly accessible at the left of the timeline. The cursor shape and color give visual cues about which kind of edit you’re dealing with. A welcome capability is that you can actually make edits while playback is rolling.

In a nice touch, holding down the mouse button while moving a clip edit point (or double-clicking on an edit point) opens a view of both clips in the preview window. If you double-click on the edit point, it switches to Trim mode, which shows the outgoing and incoming frames, with buttons for moving back and forward by one frame or five and another to apply the default transition.

When you click on a media thumbnail, you get a scrubber bar and can mark in and out points right there before you insert the clip into your project. Premiere offers several ways to insert a clip into your sequence. You can click the Insert or Overwrite buttons in the source preview monitor, or you can just drag the clip’s thumbnail from the media browser onto the timeline or onto the preview monitor. Holding Command (or Ctrl on Windows) makes your clip overwrite the timeline contents. You can even drag files directly from the OS’s file system into the project.

The media browser also has tabs for Effects, Markers, and History, the last of which can be help you back to a good spot if you mess up. Markers, too, have been improved, with the ability to attach notes and place multiple markers at the same time point. Markers can have durations in frame time codes, and the Markers tab shows you entries with all this for every marker in a clip or sequence. Clicking on a marker entry here jumps you right to its point in the movie.

Any device that can create video footage is fair game for import to Premiere Pro. The software can capture from tape, with scene detection, shuttle transport, and time-code settings. It also imports raw file format from pro-level cameras like the Arri Alexa, Canon Cinema EOS C300, and Red Epic. Resolutions of up to 8K are supported. And, of course, you can import video from smartphones and DSLRs, as well. For high-frame-rate video, the program lets you use proxy media for faster editing.

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Final Words

If you’ve been reading my recent reviews of enthusiast-level video editing software, you may be surprised to learn that Premiere Pro includes just 47 transition options by default (you can of course install plugins for more). This is because in the pro community, most of those hundreds of transitions offered by the likes of CyberLink PowerDirector are considered tacky—if pros want to do fancy transitions, they build their own striking, custom ones in After Effects or buy polished premade ones via third-party plug-ins.

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