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.
- To open the Preferences dialog box, choose Edit > Preferences (Windows) or Premiere Pro > Preferences (Mac OS), and select the category of preferences you want to change.
- To restore default preference settings, hold down Alt (Windows) or Option (Mac OS) while the application is starting. You can release the Alt key or Option key when the splash screen appears.
- To restore default preference settings and plug-in cache at the same time, hold down Shift-Alt (Windows) or Shift-Option (Mac OS) while the application is starting. Release the Shift-Alt keys or Shift-Option key when the splash screen appears.
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:
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.
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.
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.
- Choose Edit > Preferences > Audio Hardware (Windows) or Preferences > Audio Hardware (Mac OS).
- From the Device Class menu, choose the driver for the sound card you want to use.
- Choose a Default Input and Output from the card. See Assign audio inputs and outputs to tracks in Adobe Audition Help.
- (MME and CoreAudio) For Master Clock, choose the input or output to which you want other digital audio hardware to synchronize (ensuring accurate alignment of samples).
- For I/O Buffer Size (ASIO and CoreAudio) or Latency (MME), specify the lowest setting possible without audio dropouts. The ideal setting depends on the speed of your system, so some experimentation is necessary.
- Choose a Sample Rate for the audio hardware. (For common rates for different output mediums, see Understanding sample rate in Adobe Audition Help.)
- (Optional) To optimize the performance of ASIO and CoreAudio cards, click Settings. For more information, consult the documentation for the sound card.
- Under Output Mapping, you can specify the target speaker in your computer sound system for each supported audio channel.
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:
- The backup file has the same name as the project, it does not have any suffix.
- Premiere Pro produces only one emergency backup file per project, and it is overwritten at each Auto Save interval and when you save the current project.
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 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 best performance, choose a fast SSD or NVME drive for your Media Cache - ideally a on a dedicated drive. You can change the locations of the media cache files by clicking Browse and navigating to the desired folder location. If needed, you can save the Media Cache on the same drive as your media.
You can clear the Media Cache after you wrap up projects, which removes unnecessary preview render files and saves storage space.
In the Delete Media Cache Files dialog box that opens, you can choose to:
- Delete unused media cache files - Deleting unused media cache files removes files that were created for source media that can no longer be found.
- Delete all media cache files from the system - Deleting all media cache files deletes all cache files from the current location. Deleted cache files are recreated automatically whenever source media requires them. To remove all media cache files, restart Premiere Pro and select this option before opening any project.
You can set your preferences for the media cache using the following options:
- Do not delete cache files automatically - This setting is enabled by default in the Media Cache Preferences. Automatic deletion of media cache files applies only to .pek, .cfa and .ims files within the subdirectory folders Peak Files and Media Cache Files.
- Automatically delete cache files older than - The default value is 90 days. You can change it to a time period of your preference.
- Automatically delete oldest cache files when cache exceeds - The default is 10% of the volume size where the media cache is located.
When either the age or size preference is enabled, changes take place after quitting and restarting Premiere Pro. On the next application launch, Premiere Pro determines whether the media cache files meet the criteria for deletion, and if so, begins deletion 10 minutes after launch.
This housekeeping then occurs on a weekly basis from that point onward.
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:
- Source Monitor
- Program Monitor
- The preview area at the top of the Project panel
- Trim mode
- Trim Monitor
- Multi-Camera Monitor
- The video transition preview in the Effect Controls panel.
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.
When a sequence is longer than the visible timeline, you can select from different options to auto-scroll the timeline during playback.
- Page Scroll moves the timeline automatically to a new view after the playhead moves offscreen. Selecting this option ensures that playback is continuous and doesn't stop.
- Smooth Scroll keeps the playhead in the middle of the screen, while the clips and time ruler move by.
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:
- Mono tracks can hold mono and stereo clips.
- Stereo tracks can hold mono and stereo clips.
- 5.1 tracks can hold only 5.1 clips.
- Adaptive tracks can hold mono, stereo, and adaptive (multichannel) clips (but not 5.1).
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:
- Use File imports the file in the same format, mono.
- Mono imports the file as mono, as what happens when you select Use File as the source file and your preference being mono.
- Stereo imports the mono media file as stereo. The mono channel in the file is assigned to one channel in stereo and the other channel is left as silent for the media to be interpreted as stereo.
- 5.1 imports the mono file as a 5.1 surround clip. The mono channel in the file is mapped to one channel in 5.1 format along with five silent channels to interpret the file as 5.1 surround media.
- Adaptive imports the file as an N (Max N is 32) channel clip with the mono channel as the first channel.
Lets you specify how files that are inherently stereo must be interpreted in Premiere Pro. Here are the possibilities:
- Use File imports the file as in the source format, in this case, stereo.
- Mono imports the file as mono. The L-R channels in the stereo are interpreted as two mono channels.
- Stereo imports the file as stereo with the channel mapping exactly as the source format.
- 5.1 imports the file as 5.1 surround clip. The stereo channels in the file along with the four silent channels are interpreted as 5.1 surround media.
- Adaptive imports the file as an N (Max N is 32) channel clip with the stereo channels as the first 2 channels.
Lets you specify how Premiere Pro must treat 5.1 media files. The options are:
- Use File imports the file in the source format, in this case, as 5.1 channel surround media.
- Mono imports file as mono, which results in six mono channels.
- Stereo imports file as stereo, mapping the six channels to three stereo pairs.
- 5.1 imports the file as 5.1 media, with the mapping kept exactly as in the source file. In this case, it works the same as the Use File option.
- Adaptive imports the file as an N (Max N is 32) channel clip with the first six channels and the rest of them as silent.
Multichannel Mono Media
Lets you specify how files that have N discrete channels are interpreted inside PPro. The options are:
- Use File Imports the file in the source format, in this case, as multichannel mono media with the same number of channels as in the source.
- Mono Same as Use File, that is, all N channels are kept as N mono tracks.
- Stereo The N mono channels in the source are grouped into (N/2) stereo pairs.
- 5.1 Imports a multichannel mono file as sets of one or more 5.1 tracks by adding extra silent channels (if needed) to complete sets of 5.1 configuration.
- Adaptive Imports the file as an N (Max N is 32) channel clip with the channels mapped to the same number of mono channels in the source media.
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.
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.
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.
One way to troubleshoot issues in Premiere Pro is to reset preferences. Trashing preferences resets the program to its factory defaults. Resetting preferences will undo most of your customizations such as:
- length of your default transitions
- brightness of the user interface
- label colors
- audio hardware settings
- workspace changes (such as resizing and moving panels)
Preferences that 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.