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Last updated on
26 March 2024
- Adobe Premiere Pro User Guide
- Beta releases
- Getting started
- Hardware and operating system requirements
- Creating projects
- Workspaces and workflows
- Frame.io
- Import media
- Importing
- Importing from Avid or Final Cut
- File formats
- Working with timecode
- Editing
- Edit video
- Sequences
- Create and change sequences
- Set In and Out points in the Source Monitor
- Add clips to sequences
- Rearrange and move clips
- Find, select, and group clips in a sequence
- Remove clips from a sequence
- Change sequence settings
- Edit from sequences loaded into the Source Monitor
- Simplify sequences
- Rendering and previewing sequences
- Working with markers
- Add markers to clips
- Create markers in Effect Controls panel
- Set default marker colors
- Find, move, and delete markers
- Show or hide markers by color
- View marker comments
- Copy and paste sequence markers
- Sharing markers with After Effects
- Source patching and track targeting
- Scene edit detection
- Cut and trim clips
- Video
- Audio
- Overview of audio in Premiere Pro
- Edit audio clips in the Source Monitor
- Audio Track Mixer
- Adjusting volume levels
- Edit, repair, and improve audio using Essential Sound panel
- Enhance Speech
- Enhance Speech FAQs
- Audio Category Tagging
- Automatically duck audio
- Remix audio
- Monitor clip volume and pan using Audio Clip Mixer
- Audio balancing and panning
- Advanced Audio - Submixes, downmixing, and routing
- Audio effects and transitions
- Working with audio transitions
- Apply effects to audio
- Measure audio using the Loudness Radar effect
- Recording audio mixes
- Editing audio in the timeline
- Audio channel mapping in Premiere Pro
- Use Adobe Stock audio in Premiere Pro
- Overview of audio in Premiere Pro
- Text-Based Editing
- Advanced editing
- Best Practices
- Video Effects and Transitions
- Overview of video effects and transitions
- Effects
- Transitions
- Titles, Graphics, and Captions
- Properties panel
- Essential Graphics panel (24.x and earlier)
- Overview of the Essential Graphics panel
- Create a title
- Linked and Track Styles
- Working with style browser
- Create a shape
- Draw with the Pen tool
- Align and distribute objects
- Change the appearance of text and shapes
- Apply gradients
- Add Responsive Design features to your graphics
- Speech to Text
- Download language packs for transcription
- Working with captions
- Check spelling and Find and Replace
- Export text
- Speech to Text FAQs
- Motion Graphics Templates
- Best Practices: Faster graphics workflows
- Retiring the Legacy Titler FAQs
- Upgrade Legacy titles to Source Graphics
- Fonts and emojis
- Animation and Keyframing
- Compositing
- Color Correction and Grading
- Overview: Color workflows in Premiere Pro
- Color Settings
- Auto Color
- Get creative with color using Lumetri looks
- Adjust color using RGB and Hue Saturation Curves
- Correct and match colors between shots
- Using HSL Secondary controls in the Lumetri Color panel
- Create vignettes
- Looks and LUTs
- Lumetri scopes
- Display Color Management
- Timeline tone mapping
- HDR for broadcasters
- Enable DirectX HDR support
- Exporting media
- Collaborative editing
- Collaboration in Premiere Pro
- Get started with collaborative video editing
- Create Team Projects
- Add and manage media in Team Projects
- Invite and manage collaborators
- Share and manage changes with collaborators
- View auto saves and versions of Team Projects
- Manage Team Projects
- Linked Team Projects
- Frequently asked questions
- Long form and Episodic workflows
- Working with other Adobe applications
- Organizing and Managing Assets
- Improving Performance and Troubleshooting
- Set preferences
- Reset and restore preferences
- Recovery Mode
- Working with Proxies
- Check if your system is compatible with Premiere Pro
- Premiere Pro for Apple silicon
- Eliminate flicker
- Interlacing and field order
- Smart rendering
- Control surface support
- Best Practices: Working with native formats
- Knowledge Base
- Known issues
- Fixed issues
- Fix Premiere Pro crash issues
- Unable to migrate settings after updating Premiere Pro
- Green and pink video in Premiere Pro or Premiere Rush
- How do I manage the Media Cache in Premiere Pro?
- Fix errors when rendering or exporting
- Troubleshoot issues related to playback and performance in Premiere Pro
- Set preferences
- Extensions and plugins
- Video and audio streaming
- Monitoring Assets and Offline Media
Premiere Pro lets you create, assemble, rearrange and specify the settings for each sequence. You can change some of the settings for an existing sequence. Depending on the selected Editing Mode, some settings are fixed beforehand.
Sequence settings
The settings tab in the New Sequence dialog box controls the fundamental characteristics of the sequence.
Choose settings that conform to the specifications for the type of output intended for your project. Changing these settings arbitrarily often results in a loss of quality.
Editing Mode
The Editing Mode determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture card. The editing mode does not determine the format of your final movie. Output settings can be specified during export. The Custom editing mode allows you to customize the other sequence settings.
Note:
(Windows only) Select Desktop for the Editing Mode to access the Uncompressed UYVY 422 8-Bit codec or the V210 10-bit YUV codec.
Timebase
Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. In general, choose 24 for editing motion-picture film, 25 for editing PAL (European standard) and SECAM video, and 29.97 for editing NTSC (North American standard) video.
Video
Channel Format
Allows you to choose the format of the sequence.
Sample Rate
Higher-quality audio requires more disk space and processing. Resampling, or setting a different rate from the original audio, requires additional processing time and affects the quality.
Display Format
Specifies whether the audio time display is measured using audio samples or milliseconds. In the Source Monitor or Program Monitor menu, Display Format applies when Show Audio Time Units is selected. (By default, time is displayed in frames, but it can be displayed in audio units for sample-level precision when editing audio.)
Frame Size
Specifies the pixels' dimensions for frames when you play back sequences. Usually, the frame size of your project matches the frame size of your source files. Don't change the frame size to compensate for slow playback. Instead, choose a different quality setting from the Project panel menu. Alternatively, you can adjust the frame size of the final output by changing export settings.
The maximum frame size for a sequence is 10,240x8,192.
Scale motion effects proportionally when changing frame size
Allows the user to scale the motion effect while changing sequences. A standard film workflow involves black bars on the top and bottom sequences. These black bars display the project data like timecode or clip name. You can alter the sequence without damaging the clip when this information isn't required.
Pixel Aspect Ratio
Sets the aspect ratio for individual pixels. Choose Square Pixels for analog video, scanned images, and computer-generated graphics, or choose the format used by your source. If you use a pixel aspect ratio different from the pixel aspect ratio of your video, the video often gets rendered with distortion.
Working color space
Helps generate smaller, medium, and high-resolution copies of your files in the correct color space.
Auto Tone Map Media
It makes it easier to work with different types of footage and different color spaces in the same sequence. Mix and match camera media, from Log footage to iPhone HLG and other HDR formats, while retaining consistent colors. With automatic tone mapping, there’s no need for corrective LUTs and no more risk of clipping your highlights.
Fields
Specifies the field order of a frame. Select No Fields (Progressive Scan) if you work with progressive-scan video. Many capture cards capture fields regardless of whether the source footage was shot with a progressive scan.
Display Format
Premiere Pro can display any of several formats of timecode. You can display the project timecode in a film format. For example, editing footage captured from a film can show timecodes in simple frame numbers if your assets have come from an animation program. Changing the Display Format option does not alter the frame rate of clips or sequences. It changes only how their timecodes are displayed. The time display options correspond to standards for editing video and motion-picture film. For Frames and Feet + Frames timecodes, you can change the starting frame number to match the time-counting method of another editing system you use.
Note:
When working with NTSC video assets, use 30-fps drop-frame timecode. This format conforms with the timecode base inherent in NTSC video footage and accurately displays its duration.
Audio
Channel Format
Allows you to choose the format of the sequence.
Sample Rate
Higher-quality audio requires more disk space and processing. Resampling, or setting a different rate from the original audio, requires additional processing time and affects the quality.
Display Format
Specifies whether the audio time display is measured using audio samples or milliseconds. In the Source Monitor or Program Monitor menu, Display Format applies when Show Audio Time Units is selected. (By default, time is displayed in frames, but it can be displayed in audio units for sample-level precision when editing audio.)
Video Previews
Preview File Format
Preview files are created when you render sections of your timeline to improve playback performance (see Rendering and previewing sequences). In general, you should choose a preview format & codec that balances higher quality with smaller file sizes and shorter render times. QuickTime | Apple ProRes 422 LT is one example and is the default choice for many sequence presets.
Note:
Some editing modes will provide multiple choices for preview format and codec, while others limit you to a single choice.
Codec
Specifies how a preview file is encoded and decoded for a given Format. Certain formats like QuickTime support multiple codec choices (ProRes, Animation, and so on) while others only have a single codec choice.
Width
Specifies the frame width of video previews, constrained by the pixel aspect ratio of the original media.
Height
Specifies the frame height of video previews, constrained by the pixel aspect ratio of the original media.
Reset
Clears existing previews and specifies a full size for all following previews.
Note:
If you use a clip without applying effects or changing frame or time characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes requiring recalculation of each frame, Premiere Pro applies the codec you choose here.
Maximum Bit Depth
Maximizes the color bit depth to include the video played back in sequences. This setting is often unavailable if the selected compressor provides only one option for bit depth. You can also specify an 8-bit (256-color) palette when preparing a sequence for 8-bpc color playback, such as when using the Desktop editing mode for the web or some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses all the color information in those assets when processing effects or generating preview files.
Maximum Render Quality
Maintains sharp detail when scaling from large to smaller formats or from high-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving assets more sharply.
At maximum quality, rendering takes more time and uses more RAM than the default, normal quality. Select this option only on systems with enough RAM. The Maximum Render Quality option isn't recommended for systems with the minimum required RAM.
Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, look worse because of sharpening.
Note:
For best results with Maximum Render Quality, select Memory from the Optimize Rendering For menu in preferences. For more information, see Optimize rendering for available memory.
Composite In linear color (requires GPU acceleration or max render quality)
Composite in linear color (linear light) can provide a more photo-realistic look for blended frames, for example, when blending natural images with alpha or feathered masks. This option, in some cases, reduces halos around text or graphics. Linear fades look smoother with this option turned off.
Save Preset
It opens the Save Settings dialog box, where you can name, describe, and save your sequence settings.
Some sequence presets have only one file format and codec choice.
TIP: Save and name your sequence settings even if you plan to use them in only one project. Saving settings create a backup copy of the settings that you can revert to in case someone accidentally alters the current sequence settings.
Related resources
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