If the current format does not support an exact match to the source's settings, a value that best matches the source's setting will be used.
Basic Video Settings
- Adobe Premiere Pro User Guide
- Beta releases
- Getting started
- Hardware and operating system requirements
- Creating projects
- Workspaces and workflows
- Import media
- Importing from Avid or Final Cut
- File formats
- Working with timecode
- Edit video
- 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
- Source patching and track targeting
- Scene edit detection
- Cut and trim clips
- Overview of audio in Premiere Pro
- Edit audio clips in the Source Monitor
- Audio Auto-Tagging
- Audio Track Mixer
- Adjusting volume levels
- Edit, repair, and improve audio using Essential Sound panel
- 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
- Titles, Graphics, and Captions
- Overview of the Essential Graphics panel
- 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
- Install and use Motion Graphics templates
- Replace images or videos in Motion Graphics templates
- Use data-driven Motion Graphics templates
- Best Practices: Faster graphics workflows
- Retiring the Legacy Titler FAQs
- Upgrade Legacy titles to Source Graphics
- Animation and Keyframing
- 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
- Export video
- Export Preset Manager
- Workflow and overview for exporting
- Quick export
- Exporting for the Web and mobile devices
- Export a still image
- Exporting projects for other applications
- Exporting OMF files for Pro Tools
- Export to Panasonic P2 format
- Export settings
- Best Practices: Export faster
- 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
- Working in the Project panel
- Organize assets in the Project panel
- Playing assets
- Search assets
- Creative Cloud Libraries
- Sync Settings in Premiere Pro
- Consolidate, transcode, and archive projects
- Managing metadata
- Best Practices
- Working in the Project panel
- 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
- Extensions and plugins
- Video and audio streaming
- Monitoring Assets and Offline Media
Video settings vary based on the export Format you have chosen. Each format has unique requirements that determine what settings are available. For more information, see Supported file formats.
Some capture cards and plug-in software provide their own dialog boxes with specific options. If the options you see are different from the options described here, see the documentation for your capture card or plug in.
Find the setting you are looking for
Common video settings
The Match Source option lets you automatically match export settings to the source’s settings.
Formats that support Match Source:
- Animated GIF
- Apple ProRes MXF OP1a
- HEVC (H.265)
- JPEG 2000 MXF OP1a
Match Source presets
Match Source presets are useful when you want to pass a few video attributes from the source, and select specific values for the other attributes. You can save the Match Source setting as a new preset and apply them to any source.
By default, Premiere Pro includes a few adaptive Match Source presets for the H.264 format in the Preset menu:
- Match Source - Adaptive High Bitrate
- Match Source - Adaptive Medium Bitrate
- Match Source - Adaptive Low Bitrate
These presets will match most settings to the source and also adjust the bitrate based on the source's frame size. This allows for higher quality video while maintaining smaller file sizes and export times.
Match Source Rewrap presets
Certain formats like MXF OP1a, QuickTime, and DNxHR/DNxHD MXF OP1a include a Match Source (Rewrap) preset that allows video frames to "pass-through" the export pipeline without re-encoding from the source. This allows for faster exports and no loss of video quality.
Rewrap presets can only be applied to sources that match the codec of the preset. For example, the MXF rewrap preset can only be applied to sources that are also encoded to the MXF codec.
The Frame Size menu contains a list of common video frame sizes to choose from:
- Quad HD
- Full HD
- SD NTSC Wide
- SD NTSC
Exact pixel dimensions are shown for each setting (width x height)
You can also choose Custom to set your own width and height for the exported file. Drag the hot-text controls to quickly adjust Width and Height settings, or click in each field to type in your own values. To constrain aspect ratio while adjusting frame size, make sure the lock icon is enabled.
Some formats and codecs only support a limited range of frame sizes.
Frame Rate dictates how many frames of video are shown per second during playback. In general, higher frame rates produce smoother motion, although choosing a frame rate that is different from the source media’s frame rate may produce unwanted motion artifacts. Keep in mind that some formats and codecs only support a specific set of frame rates.
Specifies whether the exported file has progressive frames or frames made up of interlaced fields.
- Progressive is the preferred setting for digital television, online content, and film.
- When exporting to interlaced formats such as NTSC or PAL, choose Upper First or Lower First to set the display order of interlaced fields.
For more information, see
When set to Match Source, Premiere Pro automatically sets this value to match the field order of the source. For more information, see Interlaced versus non-interlaced video.
The pixel aspect ratio of the video. Pixel aspect ratio (PAR) describes the ratio of width to height of a single video pixel. Digital video formats like HD, 4 K UHD, and 8 K typically have square pixels (PAR 1.0), while analog formats like NTSC and PAL have rectangular pixels. Exporting at PAR different than the source media’s PAR may distort the video image.
When enabled, Render at Maximum Depth will render effects using the highest bit depth supported by the current format (in most cases, 32-bit float processing).
Retaining more color information from the source video can help reduce banding artifacts in areas with smooth color gradients and retain more detail in areas with bright highlights and dark shadows.
In some scenarios, enabling Render at Maximum Depth may increase encoding times. Also, systems with GPU acceleration enabled will always render effects at the highest bit depth available regardless of this setting.
This option enables you to export GIFs with transparency. You have three transparency options to choose from:
- None: No transparency.
- Dithered: This creates a pattern of transparent pixels to simulate the full range of alpha values.
- Hard Edges: This creates transparency based on a 50% alpha threshold.
This option helps preserve details and avoid aliasing when scaling to a frame size different from your source media—for example, exporting from a high-resolution 4-K sequence to a lower resolution HD or SD format. It can also affect how scaling, rotation, and position transformations are rendered in sequences. Enabling this option can improve quality but keep the following in mind:
- Export times can increase significantly, especially on systems without a supported GPU.
- Systems with supported GPU hardware automatically use maximum render quality if Renderer is set to Metal, CUDA, or OpenCL.
This option can be used for sources that contain an alpha channel. When enabled, only the alpha channel gets rendered in the output video and a grayscale preview of the alpha channel is shown. This setting is useful when exporting to formats like MXF that don't support transparency info. You can use the alpha channel-only output to define transparent areas of your video in third-party applications.
Time Interpolation comes into play when the frame rate of your exported media is different from your source media. For example, if your source sequence is at 30 fps but you want to export it at 60 fps. Time Interpolation generates or removes frames by the following methods:
- Frame Sampling – Duplicates or removes frames to achieve the desired frame rate. This option may produce stuttered or jittery playback on some footage.
- Frame Blending – Adds or removes frames by blending them with adjacent frames, which can result in smoother playback.
- Optical Flow – Adds or removes frames by interpolating the motion of pixels from surrounding frames. This option produces the smoothest playback usually, although artifacts may be introduced if there is significant difference between frames. Try using one of the other time interpolation settings if this error occurs.