Some filename extensions—such as MOV, AVI, and MXF denote container file formats rather than denoting specific audio, video, or image data formats. Container files can contain data encoded using various compression and encoding schemes. Premiere Pro can import these container files, but the ability to import the data that they contain depends on the codecs (specifically, decoders) installed.
Video and still-image files that you want to import must not be more than the maximum dimensions allowed. The maximum sequence frame size in pixels is 10,240×8,192 (width x height). If you attempt to set one of the Frame Size dimensions higher than this limit in the Sequence Settings dialog box, Premiere Pro resets the value to the maximum.
The maximum frame size to import still images and movies is 256 megapixels, with a maximum dimension of 32,768 pixels in either direction. For example, an image that is 16,000×16,000 pixels is acceptable, as is one that is 32,000×8,000, but an image that is 35,000×10,000 pixels cannot be used.
Adobe Premiere Pro supports several audio and video formats, making your post-production workflows compatible with the latest broadcast formats.
|3GP, 3G2 (.3gp)||Multimedia container format|
|AAC||Advanced Audio Coding|
|AIFF, AIF||Audio Interchange File Format|
|Apple ProRes, ProRes HDR, ProRes RAW||
Apple video compression format.
Apple ProRes is a high-quality codec and is widely-used as an acquisition, production and delivery format. Adobe has collaborated with Apple to provide editors, artists, and post-production professionals with comprehensive ProRes workflows for Premiere Pro and After Effects. Support for ProRes on macOS and Windows streamlines video production and simplifies final output, including server-based remote rendering with Adobe Media Encoder.
|ASF||NetShow (Windows only)|
|ASND||Adobe Sound Document|
|AVI (.avi)||DV-AVI, Microsoft AVI Type 1 and Type 2|
|BWF||Broadcast WAVE format|
|CHPROJ||Character Animator project file|
Canon Cinema RAW Light (.crm) files created by cameras such as the Canon EOS C200
|DNxHD||Supported in native MXF and QuickTime wrappers|
|DNxHR||DNxHR LB, DNxHR SQ, DNxHR TR, DNxHR HQ, and DNxHR HQX|
|DV||Raw DV stream, a QuickTime format|
|H.264 AVC||Various media that use H.264 encoding|
|HEIF||High Efficiency Image Format (HEIF) capture format supported on both Mac OS 10.13 or higher, and Windows 10 (version 1809 or higher). On Windows, both the HEIF image extension and the HEVC Video Extension need to be installed. For information on HEIF image and HEVC Video extensions, see HEIF Image Extensions and HEVC Video Extensions.|
|HEVC (H.265)||H.265 media with resolutions up to 8192*4320
|M1V||MPEG-1 Video File|
|M2TS||Blu-ray BDAV MPEG-2 Transport Stream, AVCHD|
|M4V||MPEG-4 video file|
|MP4||QuickTime Movie, XDCAM EX|
|MPEG, MPE, MPG||MPEG-1, MPEG-2|
|MXF||Media eXchange Format. MXF is a container format that supports:
|OMF||Audio Project Format|
|OpenEXR||Files in .EXR, .MXR, and .SXR formats|
|R3D||RED R3D RAW file|
|Rush||Existing projects from Premiere Rush|
|VOB||Container format in DVD media|
|WMV||Windows Media, Windows only|
Not all QuickTime codecs are supported by default. Some codecs require third-party components.
Premiere Pro lets you work with a wide range of native media formats from the latest DSLR cameras without transcoding or file rewrapping.
The media formats listed here are supported for directly importing and editing with Premiere Pro. The required codecs are built in to Premiere Pro, and supported on both Mac OS and Windows systems unless stated otherwise.
You can work natively with Canon XF and Canon RAW footage, including footage from Canon Cinema EOS C300, C500, EOS R5, and EOS-1D X Mark III cameras.
Premiere Pro lets you import and edit QuickTime formats natively including Apple ProRes and MOV files that Canon 5D and 7D cameras capture. You can clip metadata without any transcoding, rewrapping, or logging and transferring required.
Premiere Pro lets you import and edit uncompressed CinemaDNG media from the following cameras:
- Blackmagic Cinema Camera
- Blackmagic Pocket Cinema Camera
- Convergent Design Odyssey7Q
When working with CinemaDNG media, you can access the Source Settings and edit the metadata parameters. CinemaDNG can be debayered on a supported GPU for extreme playback performance.
You can native import and edit media from the following cameras/camera codec formats:
- Panasonic AVC Ultra
- Panasonic AVCi 200
- Panasonic AVC Ultra Long GOP (Group of Pictures)
- Panasonic P2 cameras and across multiple P2 cards
You can also view Panasonic Camera acquisition metadata in Premiere Pro's Metadata panel. This provides an easier starting point for grading.
The following metadata fields are now available for supported Panasonic cameras:
- Camera Manufacturer
- Camera Model
- Video Codec
- Video Bit Rate
- ISO Sensitivity
- White Balance Color Temperature
- Capture Gamma
- Capture Gamut
Premiere Pro supports working natively with RED Digital Cinema (R3D) footage from the following cameras & codec formats:
- Color Science like REDcolor2, REDgamma2, and REDlogFilm
- RED ONE
- RED EPIC
- RED Scarlet-X cameras with support for RED Rocket
- Red Dragon including RED Dragon 6K
- RED Komodo
RED format clips use the GPU (OpenCL and CUDA) for debayering for an improved and faster playback performance.
You can import and edit media from the following cameras directly, without rewrapping or transcoding:
- Sony XDCAM
- Sony XDCAM 50
- Sony XAVC
- Sony XAVC LongGOP (Group of Pictures)
- Sony XAVC-S
- Sony SStP
- Sony RAW (F65, F55, F5, FS700 cameras)
- Sony Venice V3
- Sony Venice V4
You can browse the imported clips using the Media Browser and organize them using camera metadata.
To learn more about working directly with native camera formats, see this video tutorial.
Premiere Pro supports 8bpc (4 bytes per pixel) and 16bpc (8 bytes per pixel) still-image files.
|AI, EPS||Adobe Illustrator|
|BMP, DIB, RLE||Bitmap|
|GIF||Graphics Interchange Format|
||Icon File (Windows only)|
||JPE, JPG, JFIF|
|PNG||Portable Network Graphics|
|PTL, PRTL||Adobe Premiere title|
|TGA, ICB, VDA, VST||Targa|
|TIFF||Tagged Interchange Format|
|DFXP||Distribution Format Exchange Profile|
|SCC||Scenarist Closed Caption File|
|SRT||Subrip Subtitle format|
|STL||EBU N19 Subtitle File|
|XML||W3C/SMPTE/EBU Timed Text File|
|AAF||Advanced Authoring Format|
|AEP, AEPX||After Effects project|
|CHPROJ||Character Animator Project|
|CSV, PBL, TXT, TAB||Batch lists|
||Adobe Premiere Elements project (Windows only)|
||Premiere Pro project|
Premiere Pro supports growing files for those needing this workflow. Growing files are files that are still being written to disk and will grow in duration after they are ingested. These files automatically refresh their duration based on a preference you can set in Premiere Pro.
- AVC-Intra Class 50/100
- IMX 30/40/50
- XDCAM HD 50/35/25/18 RDD9 (The low latency version of XDCAM HD is not supported)
- OP1B files
Support for growing files to automatically refresh, and how often they must refresh, is available in Media Preferences. The updated duration can be viewed in the Project panel and the Source Monitor. The refreshed duration is also available for editing in the Timeline. See Media Preferences for more details.
Growing files can only be imported if Premiere Pro can read the volume where they are stored. Premiere Pro can read footage from an unc path("//somewhere/something"), but the drive must be mapped("H:\somewhere\something"). The file can then be imported using the File > Import command. You can then edit with these clips as you would normally edit any other clip.
Variable Frame Rate (VFR) is a video compression term that refers to the format of videos where the frame rate changes actively during video playback. Most videos created using mobile devices (such as iOS and Android), and e-learning applications (such as ScreenFlow, or Twitch) are of VFR format.
Select the footage, and click File > Get Properties for > Selection. Premiere Pro indicates if it detects VFR footage.
Alternatively, you can right click the clip in the Timeline panel and select Properties.
You can incorporate variable frame footage from devices such as mobile phones and the DJI Phantom without having to adjust the audio-video sync manually.
Preserve Audio Sync
This option decodes the source so that the audio and video is in sync. Preserve Audio Sync works by adding or dropping frames, which can result in choppier-looking video. Preserve Audio Sync is the default for all VFR clips that have audio.
Smooth Video Motion
This option decodes all the available frames in the source and does not make any effort to maintain audio-video sync. It results in smoother motion in the video. You can choose this setting if you are doing motion graphics work and care more about getting all the available video frames. Smooth Video Motion is the default when Premiere Pro does not detect audio in VFR clips.
- If you plan to use proxy, consolidate, or transcode workflows, it is better to transcode VFR material to a constant frame rate before editing.
- If you have manually synced VFR footage in previous versions of Premiere Pro, resync that footage when opening the project in Premiere Pro 12.0.1 or later versions.