Learn how to get the most out of Premiere Pro by configuring preference settings for several things from appearance to playback, audio, and more.
You can customize the look and behavior of Premiere Pro, from determining the default length of transitions to setting the brightness of the user interface. Most of these preferences remain in effect until you change them. The preferences you set for scratch disks, however, are saved with your projects. Whenever you open a project, it automatically defaults to the scratch disks you selected for it when you set up that project.
Preferences are stored in the following location:
For Windows: <drive>\Users\<user name>\Documents\Adobe\Premiere Pro\<version>\Profile-<user name>
For Mac OS: <drive>/Users/<user name>/Documents/Adobe/Premiere Pro/<version>/Profile-<user name>
In the General pane of the Preferences dialog box, you can customize settings for several things from transition duration to tool tips, like the following:
You can choose to display Premiere Pro's Start screen or display the files that you most recently opened.
Specify whether you want to see the Start screen or the Open dialog when opening a project.
Bin behavior when double-clicking a bin, or double-clicking with the Shift or Option keys can be controlled in the Bins preference.
Project behavior when double-clicking a project, or holding the Alt key while clicking a project.
Lets you turn tool tips on or off.
When this option is turned on, Premiere Pro reads the ICC profile selected in your operating system and does a conversion to display colors perfectly on the monitor. This feature applies to the Premiere Pro Program and Source monitors, thumbnail previews in the Project panel, Media browser in Premiere Pro and Media Encoder, and export and encoding previews in Premiere Pro and Media Encoder.
By default, color management is disabled in Premiere Pro and Media Encoder.
Leave Color Management off if your screen matches the media on the timeline. This works well for Rec. 709 and sRGB and YouTube delivery.
Turning Color Management on is useful for scenarios where you want your display to reproduce the color appearance of the timeline on a reference monitor.
Premiere Pro does not color manage external transmit monitors hooked up through video cards from companies like AJA or Blackmagic. Configure that hardware outside Premiere Pro.
Premiere Pro, however, does color manage a secondary computer monitor used as a transmit monitor. It is part of the desktop of the operating system - hooked up through HDMI, Display Port, DVI, or Thunderbolt.
Enabling Display Color Management does not change the colors in your exported files. It only manages the colors that you see displayed on your monitor. It is necessary so that you can accurately judge what the colors look like on a true Rec709 display (HDTV for example). In the past, it was necessary to manually set your OS display profile to Rec709 to view accurate colors, and sometimes it was not possible. Display color management takes the guesswork and displays correct colors no matter what ICC profile your display is set to in the OS.
For more information, see Color management in Premiere Pro.
In the Appearance pane of the Preferences dialog box, you can set the overall brightness of the user interface.
You can also control the brightness and saturation of the blue highlight color, interactive controls, and focus indicators.
The Automatch Time preference specifies the time, in the Audio Mixer, for any control that has been adjusted to return to its previous setting. Affected controls are Volume, Pan, Effect, and Send parameter knobs in Audio, Submix, and (except sends) Master track. Automatch Time preference affects properties in Touch mode, and in Read mode for effects with keyframes.
Select this option if you experience audio dropouts during playback. By default, this option is off.
Creates keyframes only at points that don’t have a linear relationship to the start and end keyframes. For example, if you are automating a fade from 0 dB to –12 dB. With this option selected, Premiere Pro creates keyframes only at the points that represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes. If you don’t select this option, Premiere Pro creates several incremental keyframes of identical values between those two points, depending on the speed at which you change the value. This option is selected by default.
Launches the Audio Plug-in Manager dialog box to let you work with third-party VST3 plug-ins, and Audio Units (AU) plug-ins on Mac.
In the Audio Hardware pane of the Preferences dialog box (Edit > Preferences > Audio Hardware), you can specify the computer audio device and settings. You can also specify the ASIO and MME settings (Windows only), or CoreAudio setting (Mac OS only) that Premiere Pro uses for audio playback and recording. When you connect an audio hardware device, the hardware settings for that device type, such as default input, default output, master clock, latency, and sample rate are loaded in this dialog box. For example, the following screen shows the settings for a connected MME device (Windows) in which you can modify the default selections in properties:
The following image shows the preferences for low-latency CoreAudio devices that can support input-only, output-only, and full-duplex modes. You can change the properties such as Master Clock (MOTU, SPDIF, and ADAT) and I/O Buffer Size (low latency, 32 samples).
When you configure inputs and outputs for recording and playback, Adobe Premiere Pro can use these kinds of sound card drivers:
In Windows, ASIO drivers support professional cards and MME drivers typically support standard cards.
In Mac OS, CoreAudio drivers support both professional and standard cards.
ASIO and CoreAudio drivers are preferable because they provide better performance and lower latency. You can also monitor audio as you record it and instantly hear volume, pan, and effects changes during playback.
By default, Premiere Pro automatically saves your project every 15 minutes and retains the last five versions of the project file on the hard disk.
You can revert to a previously saved version at any time. Archiving many iterations of a project consumes relatively little disk space because project files are much smaller than source video files. It’s best to save project files to the same drive as your application. Archived files are saved in the Premiere Pro Auto-Save folder.
Enter the number of versions of a project file you want to save. For example, if you type 10, Premiere Pro saves the ten most recent versions.
When you specify auto-save to occur at regular intervals, Premiere Pro auto-saves a project on detecting changes to the project file.
The auto-save occurs irrespective of whether you manually save the changes to the project or not. Earlier, Premiere Pro would not execute auto-save if you manually saved within the interval setting. If the system goes idle for a period beyond the interval setting, Premiere Pro forces an auto-save.
To let Premiere Pro auto-save your projects directly to your Creative Cloud-based storage, select this preference.
When Premiere Pro auto-saves a project, a directory named "auto-save" is created in your Creative Cloud online storage. All the backed-up projects are stored in the "auto-save" directory.
You can access your backed-up projects from the Files tab of your Creative Cloud desktop application. Or you can access the files from your Creative Cloud account on the Web.
When this setting is enabled, Auto Save creates an archived copy of your current projects, but also saves the current working project. This setting is off by default.
Auto saved versions have a suffix with the date and time it was saved (yy-mm-dd-hh-mm-ss) appended to the project name (for example, ProjectName-2018-08-31_09-53-41.prproj).
When an auto save occurs, Premiere Pro creates a new backup project file and adds it to the auto-save folder as an emergency project backup. This file is always the latest saved version of that project. Here are some of the characteristics of the emergency back project file:
Controls how Premiere Pro transfers video and audio directly from a deck or camera. (None of the other project settings options affect capturing.) The contents of this panel depend on the editing mode. More capture formats and options appear if you install other software, such as software included with a capture card certified to be compatible with Premiere Pro.
For P2 DVCPRO 50 and P2 DVCPRO HD projects, the Capture Format setting is not relevant. It is because the assets are captured and recorded directly to the P2 card as digital files by the camera.
In the Control Surface panel of the Preferences dialog, you can configure your hardware control device.
The Edit, Add, and Remove buttons let you add, edit, or remove control surfaces in your configuration.
Under Device Class, click Add to select the device. You can add either EUCON or Mackie. Or you can add both.
To specify configure settings like MIDI Input Device and MIDI Output Device for the selected control surface, click Edit.
For more information on using control surface controls with Premiere Pro, see Control surface support.
In the Device Control pane of the Preferences dialog box, you specify the settings Premiere Pro uses to control a playback/recording device, such as a VTR or camcorder.
If you need Ligature support, select Ligatures. If you want support for Hindi numerals, select Hindi Digits. You can also choose if you want the text to flow left to right or right to left.
You can define a custom replacement font in the Graphics tab. This font is set as the default font when the fonts in a Motion Graphics Template cannot be synced.
In the Label Colors section, you can change the default colors and color names. You can label assets with these colors and color names in the Project panels.
In the Label Defaults section, you can change the default colors assigned to bins, sequences, and different types of media.
Specifies the frame rate for imported still-image sequences.
Specifies whether Premiere Pro assigns a 0, or a 1 to the first frame of an imported clip, or assigns a number by timecode conversion.
To specify whether you want to Scale to frame size or Set to frame size, set this media preference. If you select scale to frame size, then Premiere Pro automatically scales imported assets to the project’s default frame size.
To write ID information into XMP metadata fields, select this check box.
To specify where you want Premiere Pro to save clip marker, set this option. If you select this option, clip markers are saved with the media file. If you turn off this option, clip markers are saved in the Premiere Pro project file.
To link clip metadata to XMP metadata, so that changing one changes the other, select this check box.
To detect and automatically import embedded closed caption data in an embedded closed caption file, select this check box. Deselect this check box to not import embedded captions, which helps save time while importing.
If you want Premiere Pro to automatically switch to displaying the proxy video in the timeline after a proxy job is complete, select this option.
If you want to allow duplicate media while importing a project, select this option. Deselect this option if you don't want multiple copies while importing.
When you select this option, Premiere Pro hides the master clips when dragging in a sequence from another project.
Premiere Pro supports growing files for OP1A MXF files. The preference allows users to opt whether Premiere automatically refreshes as they grow, and if so, how frequently. This preference allows you to edit with these files in your project immediately.
This preference allows you to enable and disable hardware decoding from AMD, Nvidia, or Intel. By default, this preference is enabled.
Based on the card availability on your system, Premiere Pro displays the AMD, NVIDIA, and Intel options.
If you want H.264 editing to be faster by using the hardware decoders in your system, select this option.
This option is dimmed if your system does not support this feature. For more information, see Hardware acceleration system requirements.
The Media Cache is where Premiere Pro stores accelerator files, including peak files (.pek) and conformed audio (.cfa). Premiere Pro. Clearing old or unused media cache files can help maintain optimal performance. Deleted cache files are recreated whenever source media requires them.
For more information on setting Media Cache preferences, see How do I manage the Media Cache in Premiere Pro?
In the Memory pane of the Preferences dialog box, you can specify the amount of RAM reserved for other applications, and for Premiere Pro. For example, as you reduce the amount of RAM reserved for other applications, the amount of RAM left available for Premiere Pro increases.
Some sequences, such as those containing high-resolution source video or still images, require large amounts of memory for the simultaneous rendering of multiple frames. These assets can force Premiere Pro to cancel rendering and to give a Low Memory Warning alert. In these cases, you can maximize the available memory by changing the Optimize Rendering For preference from Performance to Memory. Change this preference back to Performance when rendering no longer requires memory optimization.
In the Playback pane of the Preferences dialog box, you can select the default player for audio or video, and set preroll and postroll preferences. You can also access device settings for third-party capture cards.
Premiere Pro uses the player to play media from clips and sequences for the following:
You can choose the default player for your computer, or a third-party plug-in player for Premiere Pro. Third-party players are installed with some capture cards.
Preroll: The number of seconds before an edit point when playing back footage for several editing functions.
Postroll: The number of seconds after an edit point when playing back footage for several editing functions.
Step forward/Back Many: Specifies the number of frames to move when you use the keyboard shortcut Shift+Left or Right arrow. The default is set to ten frames.
Pause Media Encoder queue during playback: Pauses the encoding queue in Adobe Media Encoder when you are playing back a sequence or a project in Premiere Pro.
Audio Device: Choose an audio device in the Audio Device menu.
Video Device: Set up DV and third-party devices for output by clicking the Settings button. If a third-party capture card is installed, click the Settings button to access the Mercury Transmit dialog box for video formats, and pixel formats.A check box is available for disabling video output when in the background.
When you work with Premiere Pro on multiple machines, managing and syncing preferences, presets, and libraries between them can be time-consuming, complex, and error prone. The new Sync Settings feature lets you sync your general preferences, keyboard shortcuts, presets, and libraries to the Creative Cloud. For more information, see Sync Settings in Premiere Pro.
Audio, video, and still images have a default duration in Premiere Pro.
Specify the default duration for audio and video transitions.
To display still images, specify the default duration.
When a sequence is longer than the visible timeline, you can select from different options to auto-scroll the timeline during playback.
You can choose vertical or horizontal scrolling. By default, mouse scrolling is horizontal for Windows and vertical for Mac OS. For Windows, press the Ctrl key to switch to vertical scrolling.
Defines the type of track in which the clip audio channels are presented when a clip is added to a sequence—Mono, Stereo, 5.1, or Multichannel Mono. Premiere Pro imports and renders each of these track types in the source format (if you select the Use File option) or converted to another track format (if you select one of the track types other than Use File). The following list describes the compatibility between tracks and clip types:
The following definitions describe how each track type is interpreted in Premiere Pro and presented when dropped into a sequence:
Lets you specify how mono files must be interpreted inside Premiere Pro. The mapping works as follows:
Lets you specify how files that are inherently stereo must be interpreted in Premiere Pro. Here are the possibilities:
Lets you specify how Premiere Pro must treat 5.1 media files. The options are:
Multichannel Mono Media
Lets you specify how files that have N discrete channels are interpreted inside PPro. The options are:
Select this preference if you want the timeline to be active, not the Source Monitor, after you make an edit.
To turn on snapping, select this preference.
With snapping turned on, moving the playhead in the timeline, makes the playhead snap or jump to an edit directly. For example, you can align the playhead to a specific marker with snapping enabled.
Toggle snapping on and off by pressing S on the keyboard.
Use this option to control what happens when you are at the end of a sequence and you restart playback. If this option is not selected, Premiere Pro stops. If you select this option, Premiere Pro jumps back to the beginning.
If you want Premiere Pro to play the whole project from the beginning after rendering, select this preference.
When you drag a clip into a sequence, Premiere Pro detects if the attributes of the clip match the sequence settings. If the attributes do not match, the Show Clip Mismatch Warning dialog box appears.
When you have different In and Out points set in the Source Monitor and Program Monitor, a Fit Clip dialog box appears. The Fit Clip dialog lets you choose the In and Out points to use. Select this preference to let Premiere Pro remember your choice and not display the Fit Clip dialog box every time.
When you enable this option, Premiere Pro opens the master clip in the Source Monitor and adds a point at the current time indicator (playhead) instead of showing the clip in and out points.
The Trim Monitor includes Large Trim Offset buttons. Clicking one of these buttons moves a trim point earlier or later. In the Trim pane of the Preferences dialog box, you can specify the number of frames that the Large Trim Offset buttons move trim points.