GoPro Max Review

Images, and the devices that capture them, are my focus. I’ve covered cameras at PCMag for the past 10 years, which has given me a front row seat for the DSLR to mirrorless transition, the smartphone camera revolution, and the mainstream adoption of drones for aerial imaging. You can find me on Instagram @jamespfisher.

The Bottom Line

The 360-degree GoPro Max camera promises an easier, more streamlined workflow than last year’s Fusion, but has more niche appeal than the less expensive Hero8 Black.

PCMag editors select and review products independently. If you buy through affiliate links, we may earn commissions, which help support our testing.

GoPro Max Specs

Name	Value
Dimensions	2.7 x 2.5 x 1.6 inches
Weight	5.8 oz
Type	Action Camera, 360-Degree
Sensor Resolution	18 MP
Sensor Type	CMOS
Memory Card Slots	1
Memory Card Format	microSD, microSDHC, microSDXC
Battery Type	GoPro ACBAT-001
Minimum ISO	400
Maximum ISO	6400
Stabilization	Digital
Display Size	1.7 inches
Touch Screen	Yes
Connectivity	Bluetooth, USB-C, Wi-Fi
Maximum Waterproof Depth	16 feet
Video Resolution	5.6K
HDMI Output	None
Flat Profile	Yes

GoPro’s second-generation 360-degree action camera, the Max ($499.99), is a lot friendlier to use than its first effort, the Fusion. You don’t have to fiddle with dual memory cards, the software tools to work with 360 footage are a lot better now, and the camera has a touch screen so you can more easily adjust settings. It costs a bit more than our favorite action camera, the GoPro Hero8 Black, an item that’s a better fit for most action videographers, but is worth a look if you’re all-in on 360-degree capture and editing.

A Smaller Fusion

The Max takes its basic design cues from the Fusion. It has the same matte gray finish with a rubberized exterior, built to withstand drops and go underwater without the need for an external housing. But it’s smaller all around, and adds a color touch screen so you can preview the frame from either of its lenses, and adjust settings via touch.

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The camera measures 2.7 by 2.5 by 1.6 inches (HWD), weighs 5.8 ounces, and is waterproof to 16 feet. It ships with both opaque lens caps and clear dome protectors, as well as a mounting foot and a pair of adhesive mounts.

Mounting clips are integral to the design, and fold into the bottom for storage. You can mount the Max on a tripod, like GoPro’s Shorty (that doubles as a selfie stick), which is useful if you’re trying to get a level shot on uneven ground. If you have access to a flat surface, but no tripod handy, the Max can sit upright on its own.

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The camera sports six internal microphones, and my test clips show them to be of very high quality. GoPro promises that they’re on par with shotgun mics in terms of directionality. They did a good job isolating my voice, while still capturing the ambient sounds of nature, but struggle to cut out wind on breezy days. External microphones are not supported.

Video is recorded to a single microSD card, a welcome move away from the dual cards used by the Fusion. The card slot is accessible via the removable side door. The door also covers the USB-C port, which is used for data transfer (at up to 480Mbps) and charging. The battery is good for about 85 minutes of 360-degree recording, or 105 minutes of single-lens, 1080p (16:9) or 1440p (4:3) video.

Wireless transfer is included as well. The Max has Bluetooth and Wi-Fi, so you can opt for a mobile workflow with the GoPro app, a free download for Android or iOS. I worked the iOS app to reframe 360-degree footage on my iPad Pro.

The only real downside is transfer time, which is on the slow side—footage transfers a little bit faster than real time, so expect each minute of video to take anywhere from 45 seconds to a minute to copy to your device. GoPro could fix this pretty easily by adding USB-C transfer support to its app—I’m able to copy images from the Max directly to Adobe Lightroom Mobile via a cable connection, but Lightroom doesn’t support video input.

What to Do With 360-Degree Video

If you’re buying the Max, it should be with the intention of using its 360-degree capture capabilities. That doesn’t mean you’ll use it to push video to VR experiences (though you can). Instead, GoPro includes software tools with the Max to convert the 360-degree video, captured at 5.6K quality, into flat video, with your choice of aspect ratio—16:9, 1:1, 4:3, or 9:16. When extracting 16:9 video, you end up with 1080p footage. How sharp the video looks depends on your angle of view—zooming in too far certainly softens things—but it looks quite good when you stick to a wider angle.

You can convert 360-degree video into traditional, flat footage using touch tools if you opt to use GoPro’s smartphone and tablet software. The interface is definitely intuitive. You can use your devices’s accelerometer to tilt the angle of the video on screen, or pinch to zoom in or out and swipe the screen to set the angle of view.

This gives you freedom to highlight different parts of your footage, play around with fun projections like the spherical Little Planet view, and the like. Thanks to the use of keyframe animation, virtual camera movements and transitions are smooth and even.

Keyframes are also quite intuitive—add one to set your starting frame and another farther down your editing timeline to get to the frame you want to transition to. The longer apart you set them, the slower the transition, and vice versa. If you want to hold a particular shot between transitions, it’s simply a matter of switching the transition type to a jump cut.

Those are just the basics. You’ll get them down with a little bit of use. There’s also desktop software available. I found it a little less easy to play with views using my laptop’s trackpad versus the iPad screen, but aside from some fumbling with gestures and keyboard combinations, it just about matches the tablet experience.

In addition to video, the Max can record time-lapse video using one or both lenses, as well as images. The ultra-wide angle of view adds a panoramic image mode, which captures an ultra-wide angle. Because it’s done with a single exposure, it’s useful for capturing moving subjects, unlike smartphone panoramic capture, which relies on multi-frame stitching.

It’s a Single-Lens Camera Too

The Max is limited to 24 or 30fps when using both of its lenses at launch. But many who are used to using action cameras prefer a quicker frame rate, whether it be to better capture fast motion or for some flexibility for slow-motion playback. The Hero8 Black can push to 240fps at 1080p quality.

The Max doesn’t net as high a frame rate when using a single lens, but you can push it to 60fps. (You still get access to 24 and 30fps, if you prefer.) At its widest angle of view, it matches a 13mm full-frame lens, wider than you can get with the Hero8 Black.

For less-extreme coverage, the camera also has a 16mm wide-angle, a 19mm wide linear that removes distortion, and a 27mm angle of view that’s close to the view of a smartphone’s main lens.

All modes support very strong stabilization with horizon leveling—the camera captures an incredible amount of information outside of the frame, with some overlap, so there’s plenty of information to use to keep video stable and level. It turned what would be shaky dog harness-mounted video into something that looks like it was shot with a Steadicam—even when Duke the Dog was running through a field and some light brush.

I’m disappointed that GoPro doesn’t include the option to make your own video presets with the Max, as it does with the Hero8. You can edit settings at any time via the touch interface, but it would be nice to be able to save a few different recipes for different types of clips.

Capture Everything

GoPro took its time before jumping into the 360-degree camera space. It’s a strategy that, I think, worked to its benefit. While competitors made mistakes, and consumers fiddled with and threw away plenty of low-quality 360-degree add-on modules for smartphones, GoPro watched what tools others—particularly Insta360 with its One, and the now-discontinued Rylo—were including in software.

The Max’s touch interface allows you to easily switch between different capture modes, something that’s been missing from competitors. Audio sounds quite good, adding some appeal for vloggers. And while it’s not built to go deep under water, you can get certainly take it snorkeling.

The software interface is quite good too, so you can actually work with your footage without wanting to pull your hair out. I was happy with what I was able to make in a few minutes of tapping and swiping away in the GoPro app on an iPad Pro. If you use other GoPros in your work, you’ll be happy to know you can cut the Max footage into your QuikStories, though you will have to reframe spherical footage first.

Unlike the host of half-baked smartphone add-ons and budget quality 360-degree cameras that came before it, the GoPro Max is a 360 cam you’ll actually want to use. It’s video, audio, and build quality are the best we’ve seen in the space, and competition has lessened—the Insta360 R is its only serious rival, and costs a little bit less.

You’ll pay more for the Max than for a traditional single-lens action cam, though. The GoPro Hero8 Black is $100 less, delivers sharper video and slower slow-motion, and has pretty amazing stabilization in its own right. It’s our Editors’ Choice and the action camera that will make the most people the happiest. If you’re in the 360 niche, however, the Max looks pretty good, as long as you understand that it takes a bit more work to get stunning results.

Adobe Premiere Pro Review

PC hardware is nice, but it’s not much use without innovative software. I’ve been reviewing software for PCMag since 2008, and I still get a kick out of seeing what’s new in video and photo editing software, and how operating systems change over time. I was privileged to byline the cover story of the last print issue of PC Magazine, the Windows 7 review, and I’ve witnessed every Microsoft win and misstep up to the latest Windows 11.

The Bottom Line

Suitable for even the most demanding users, Adobe Premiere Pro is an expansive, professional-level digital video editing program with excellent collaboration tools.

PCMag editors select and review products independently. If you buy through affiliate links, we may earn commissions, which help support our testing.

Adobe Premiere Pro Specs

Name	Value
Number of Video Tracks	Unlimited
Motion Tracking	No
Multicam Editing	Yes
3D Editing	Yes
Supports 360° VR Content	Yes
Keyword Tag Media	No
Supports 4K XAVC-S Format	Yes
Exports to H.265 (HEVC)	Yes

Adobe Premiere Pro earns its status as industry-standard video editing software, thanks to its familiar nonlinear editing interface, unmatched ecosystem of tools, and powerful capabilities. Since our last look at the massive application, it has simplified both the import and export experiences, and added automatic caption generation, integration with Frame.io, and many other features. All this makes Premiere Pro well worthy of an Editors’ Choice award for professional-level video editing software.

While Apple made a drastic break with the past when it updated Final Cut Pro X, Adobe continues to take an incremental approach by polishing the interface and adding state-of-the-art tools to its professional video editing software. Longtime professional video editors who are used to traditional nonlinear digital editing will applaud Premiere’s familiar approach, but Final Cut, in its favor, offers innovative tools like Connected Clips, Auditions, and a Trackless Timeline that can ease organizing and editing.

How Much Does Adobe Premiere Pro Cost?

Premiere Pro is now only available by subscription. You can get it for $20.99 per month with an annual commitment or $239.88 if you pay for a year upfront (that works out to $19.99 per month). A month-to-month option with no commitment costs $31.49 per month. The free trial option is now a measly seven days, but it does give you a chance to kick the program’s tires.

You can also get Premiere Pro as part of the complete suite of Adobe Creative Cloud professional applications that includes Photoshop, Illustrator, After Effects, and the rest. That costs $52.99 per month with an annual commitment or $74.99 month-to-month. A full year paid upfront for the suite costs $635.88. Business customers pay more for either package, at $33.99 per month per user for the single app or $79.99 for the whole suite. The Business version adds enhanced support, management, and collaboration options.

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When you install Premiere, you also get Adobe Media Encoder, which converts output to a wide variety of formats for online and broadcast. It also enables batch processing.

Because Premiere is sold as a subscription, the immediate dent on your pocketbook is lessened compared to back when you had to plunk down $799.99 all at once to buy a perpetual license. Additionally, the subscription-based application gets regular updates with improvements and new features.

The cross-platform program runs on macOS 10.15 or later and on Windows 10 version 1909 or later and Windows 11, with the 64-bit versions required. On Windows it requires an Intel 6th-generation or newer CPU or an AMD Ryzen 1000 Series or newer, 8GB of RAM (16GB recommended), and a 1,920-by-1,080 display. On Apple computers, Premiere Pro requires an Intel 6th-generation or newer CPU but now has native Apple Silicon M1 support.

What’s New in Premiere Pro?f

Adobe does a big update for Premiere Pro at least once a year, and this year has produced some biggies. Below are the standout new features in recent updates.

Interface Changes. Adobe has simplified both the import and export experience to be less text-filled and more visual and automatic. The detailed options are still available for those who want to dig into them. New also is a simplification of the main modes (customizable) to just three: Import, Edit, and Export.

Frame.io Integration. Adobe purchased the online video editing collaboration service last fall, and the fruits of that acquisition can now be enjoyed inside Premiere Pro. Users get an account and 100GB of online storage

Caption Tools. A new captioning workflow makes it easier to add, split, and format captions, and an update later this year will bring automatic transcription (currently in beta).

Media Replacement in Motion Graphics Templates. Easily drop your own media into pre-built templates to customize effects. For example, replace a logo and text in a motion graphic template for an intro.

Copy and Paste Audio Effects. You can now copy combined audio effects and paste them to another audio clip rather than doing so for each effect separately. Some legacy audio effects have been replaced, so you have to update projects with the new ones.

Learning tools. A Learning mode option now appears at the top of the screen, and the welcome page offers eight interactive tutorials that can take you over the main tasks needed for creating a movie—importing, preparing clips, adding titles, working with color, editing audio, and so on.

Auto Reframe. With so much emphasis on social videos these days, its often necessary to use aspect ratios other than the standard widescreen, including vertical formats favored by smartphone screens. Adobe’s Auto Reframe can automatically change the crop selection for these formats, keeping the subject in view.

Interface

Premiere Pro has an attractive, flexible interface, and I’m a fan of the new simplifying changes Adobe has brought to it with the April 2022 update. The startup view helps you quickly get to projects you’ve been working on, start new projects, or search for Adobe Stock footage. The dark program window makes your clips the center of attention. Whereas before, it showed workspace options for Assembly, Editing, Color, Effects, Audio, and Titles. it now just has three, for Import, Edit, and Export. You can edit these or create your own custom workspaces, and even pull off any of the panels and float them wherever you want on your display(s). You can create content bins based on search terms, too.

One thing missing from the interface is a permanent search box for finding commands, content, or help; other major apps, including Adobe’s own Photoshop and Microsoft Office, now include this helpful interface element.

By default, the editor uses a four-panel layout, with the source preview at top left, a project preview at top right, your project assets at lower-left, and the timeline tracks along the lower right. You can add and remove control buttons to taste; Adobe has removed a bunch by default for a cleaner interface. Since many editors rely on keyboard shortcuts like J, K, and L for navigating through a project, fewer buttons and a cleaner screen make a lot of sense. It’s a very flexible interface, and you can undock and drag around windows to your heart’s content. Here’s another helpful feature: When you hover the mouse over a clip in the source panel, it scrubs through the video.

Premiere Pro is touch-screen-friendly, letting you move clips and timeline elements around with a finger or tap buttons. You can also pinch-zoom the timeline or video preview window. You can even set in and out points with a tap on thumbnails in the source bin.

When you click on a media thumbnail, you get a scrubber bar and can mark in and out points right there before you insert the clip into your project. Premiere offers several ways to insert a clip into your sequence. You can click the Insert or Overwrite buttons in the source preview monitor, or you can just drag the clip’s thumbnail from the media browser onto the timeline or onto the preview monitor. Holding Command (or Ctrl on Windows) makes your clip overwrite the timeline contents. You can even drag files directly from the OS’s file system into the project.

The media browser also has tabs for Effects, Markers, and History, the last of which can be help you back to a good spot if you mess up. Markers, too, have been improved, with the ability to attach notes and place multiple markers at the same time point. Markers can have durations in frame time codes, and the Markers tab shows you entries with all this for every marker in a clip or sequence. Clicking on a marker entry here jumps you right to its point in the movie.

Any device that can create video footage is fair game for import to Premiere Pro. The software can capture from tape, with scene detection, shuttle transport, and time-code settings. It also imports raw file format from pro-level cameras like the Arri Alexa, Canon Cinema EOS C300, and Red Epic. Resolutions of up to 8K are supported. And, of course, you can import video from smartphones and DSLRs, as well. For high-frame-rate video, the program lets you use proxy media for faster editing.

If you’re moving up from the consumer-level Adobe Premiere Elements, you can import your projects, especially since they use the same .PREL file format. But note that you may lose some effects, even things like image filters and motion tracking.

Trimming Project Clips

Premiere Pro continues to offer the four edit types that sound like they belong at a waterpark—Roll, Ripple, Slip, and Slide—and adds a Regular Trim mode. They’re all clearly accessible at the left of the timeline. The cursor shape and color give visual cues about which kind of edit you’re dealing with. One welcome capability is that you can make edits while playback is rolling.

In a nice touch, holding down the mouse button while moving a clip edit point (or double-clicking on an edit point) opens a view of both clips in the preview window. If you double-click on the edit point, it switches to Trim mode, which shows the outgoing and incoming frames, with buttons for moving back and forward by one frame or five and another to apply the default transition.

As with Adobe Photoshop image layers, layer support in Premiere Pro lets you apply adjustments. These will affect all tracks below them. You create a new adjustment layer by right-clicking in the project panel. Then, you drag it onto a clip on your timeline and start applying effects.

Transitions and Effects

If you’ve been reading my recent reviews of enthusiast-level video editing software, you may be surprised to learn that Premiere Pro includes just 47 transition options by default (you can of course install plugins for more). This is because in the pro community, most of those hundreds of transitions offered by the likes of CyberLink PowerDirector are considered tacky—if pros want to do fancy transitions, they build their own striking, custom ones in After Effects or buy polished premade ones via third-party plug-ins.

Otherwise, all the video effects you’d expect are present—keying, lighting, colorizing, and transforming. You can apply an effect just by double clicking. A search box makes it easy to find the effect or transition you need.

The Warp Stabilize feature, brought over from After Effects, is very effective at smoothing out bumpy video. Adobe has sped up this formerly slow frame-by-frame process. In testing, smoothing out a 1:33 (min:sec) clip from a moving tram, took 2:38, but all but the biggest shakes were pleasingly smoothed out. You can adjust the amount of cropping, tweak the percent smoothness, and make the borders auto-scale. A cool option is No Motion, compared with the default Smooth motion. Using this with Stabilize Only (as opposed to adding Crop, Autoscale, or Synthesize Edges) resulted in a weird (and unusable) zooming in and out with rotation in my test, so be careful which settings you use. The result with default settings was noticeably smoother than that produced by Final Cut Pro X in my testing.

Collaboration

Premiere Pro lets you use Creative Cloud Libraries to store and organize assets online, and the Team Projects feature lets editors and motion graphics artists using After Effects collaborate in real time; you simply designate team members when creating the project. Any Premiere user can sync settings to Creative Cloud, for editing from different PCs and locations.

This also means that editors can go to any machine running Premiere and see their environment tweaks duplicated by signing into the cloud. Getting this kind of collaboration and workflow capability in Final Cut Pro requires third-party extensions, and consumer-targeted products like PowerDirector offer no collaboration features to speak of.

Frame.io Integration

A key new component of collaboration in Premiere Pro is its new inclusion of Frame.io, which Adobe acquired in the fall of 2021. Premiere Pro subscribers now also get a Frame.io account, with 100GB of online storage. That’s separate from the 100GB Creative Cloud storage they also get. A help video and sample project tutorial are promoted on the program’s Welcome page to get new users started with the service. Once your project is ready to share with collaborators and stakeholders, you open the Review with Frame.io panel, accessible from the Window menu. You need to log in with your Adobe account again for this to work. This opens a webpage, but also populated the panel with your shareable projects https://jiji.ng/.

For each project thumbnail, you get choices of Share for Review, Share as Presentation, Import File, Download File, Open File in Browser, Change Status, Make Private, and Delete. When you open the similar panel in a web browser, you see more choices, including Publish to Vimeo or Dropbox, Copy to. and Duplicate. The web view of a project saves collaborators and reviewers from having to have Premiere installed, and it provides good viewing experience. In either interface, thumbnails feature hover scrub. Teams can organize projects into groups and set

The Share as Presentation lets you include a watermark in the shared video, but that requires an upgraded Frame.io account, starting at $15 per user per month. It’s a rich commenting environment, with the ability to indicate time codes and to draw on the screen to point out areas of interest. When you click on a comment in the Review window, the timeline snaps to the place in the timeline the comment is about.

One feature that Adobe particularly touted during the announcement of this and other new Premiere features is Camera to Cloud. As the name suggests, this allows direct uploading from a video camera to Frame.io. This requires a professional video camera costing thousands along with a Teradek Cube transmitter device that costs a couple thousand more. In truth, both Camera to Cloud and Frame.io are beyond the needs of this article’s mostly consumer hobbyist reader audience, but it’s interesting tech nevertheless.

Auto Reframe

A good chunk of today’s video content is destined for social media, which means different aspect ratio formats. Auto Reframe uses Adobe’s Sensei AI technology to identify what’s important in the frame and then crop to 16:9, square, vertical, or custom aspect ratios to match the output device or service. You can use the tool on individual clips or entire sequences.

You can either drag the video effect onto a clip or choose Auto Reframe from the Sequence menu. You then choose the output aspect ratio; slower, faster, or default motion tracking, and whether you want clip nesting.

Facebook, Instagram, Snapchat, YouTube, and Vimeo, as well as broadcast outlets, all have different spec requirements, so the new feature will save video producers the work of having to custom edit for each. At the very least, Auto Reframe gives producers a starting point, since it offers a Nested option, meaning you can adjust its automatically created keyframes to taste.

Apple now has a similar tool in Final Cut Pro called Smart Conform. It’s nearly identical to Auto Reframe, though there’s only one way to get to it, unlike Premiere Pro’s two options. Smart Conform also bases the crop on your project aspect ratio setting, rather than creating new aspect-ratio versions to taste. One thing I prefer about Final Cut’s feature is that it lets you see how the effect worked by showing the full frame outside the automatically cropped area.

360-Degree VR Video

Premiere Pro lets you view 360-degree VR footage and change the field of view and angle. You can view this content in anaglyphic form, which is a fancy way of saying you can see it in 3D using standard red-and-blue glasses. You can also have your video track a head-mounted display’s view.

The program, however, couldn’t open my Samsung Gear 360 footage unless it was already converted to equirectangular format. Corel VideoStudio, CyberLink PowerDirector, and Pinnacle Studio can all open the footage without this conversion. You can’t see the spherical view alongside the flattened view as you can in those apps, either, but you can easily toggle back and forth between these views if you add the VR button to the preview window. Helpfully, Adobe’s tool lets you tag a video as VR, so that Facebook or YouTube can tell it’s 360-degree content.

Multi-Camera Angle Editing

Multicam in Premiere Pro can accommodate an unlimited number of angles, limited only by your system capabilities. Final Cut Pro X lets you work with only 64 angles, though most projects won’t need more. In Premiere, you select your clips and choose Create Multi-Camera Source Sequence from the right-click or Clip menus, and then choose a syncing method. The program does a good job of syncing clips based on their audio, which is helpful for DSLR-shot clips, since they have no time codes. As in Final Cut, a Multi-Camera Monitor lets you record angle changes as the composite video plays, either by simply clicking on the angle’s tile or corresponding number. You can then adjust the cuts with the normal editing tools.

Color Adjustments and Effects

The Lumetri Color Tools in Premiere Pro brings the program up to the status of Photoshop for video. These tools offer a remarkable amount of color manipulation, along with a great selection of film and HDR looks. You can adjust white balance, exposure, contrast, highlights, shadows, and black point—all of which can be activated with keyframes. Saturation, Vibrance, Faded Film, and Sharpen adjustments are also available. But the curves and color wheel options are impressive, and include a Color Match feature with comparison views. There’s also a very cool Lumetri Scope view, which shows the current frame’s proportional use of red, green, and blue.

You can opt to apply any of these effects only in masked areas, which you can create from polygons or by using a pen tool. For motion tracking, however, you need to look to After Effects, so those masks won’t automatically track, say, a face.

Auto Color is a new feature released in April 2022. Its something we’ve seen in photo editing software for many years, but Adobe claims the new toll analyzes an entire clip using its patented Sensei AI technology to improve exposure, white balance, and contrast. Unfortunately, it only works per-clip; it would be nice if you could apply it to your whole sequence, that is, the group of clips and overlays that comprise your digital movie. As you can see in the screenshot above, after pressing the Auto button, you can see what adjustments Auto Color made, and tune them to your taste. In testing on several clips, it did improve not just the color but the lighting, though occasionally pumping up saturation too much for my taste. Dark or light shots were improved, however.

Audio Editing

Premiere Pro’s Audio Mixer shows pan, balance, VU meters, clipping indicators, and mute/solo for all timeline tracks. You can use it to make adjustments as the project plays. New tracks are automatically created when you drop an audio clip in the timeline, and you can specify types like Standard (which can contain a combination of mono and stereo files), mono, stereo, 5.1 and adaptive. Double-clicking the VU meters or panning dials returns their levels to zero.

The audio meters next to your timeline are resizable and let you solo any track. The program also supports hardware controllers and third-party VSP plugins. If you have Adobe Audition installed, you can roundtrip your audio between that and Premiere for advanced techniques such as Adaptive Noise Reduction, Parametric EQ, Automatic Click Removal, Studio Reverb, and compression.

For background music, you can choose from a large selection, some free, some extra-cost, from Adobe Stock. You find these within the Essential Sound panel, which also lets you designate your own audio tracks as Dialog, Music, SFX, or Ambience. Switch to the Browse tab to find background music, which you can filter by mood or search by term. None of these can auto-fit your project length as many video programs can, and there are no sound effect samples like drum hits or car horns, again, offered by most consumer software I review. This shows that Premiere is designed mostly for professional teams rather than enthusiasts who may also want to use its power. The Pros will likely have a full Creative Cloud subscription which would let them get the sounds through Adobe Audition. Final Cut Pro and most other consumer level video software come with these sound effects available right in the program.

Essential Sound does now provide one recent, very useful capability: Auto ducking for ambient sounds. This pulls back background noise during dialog or sound effects.

Titles and Captions

As you might expect, Premiere Pro offers a wealth of text options for titles and captions. It can import XML or SRT files. For titles you get a great selection of fonts, including Adobe TypeKit fonts. You can choose leading and kerning, rolling, crawling, rotation, opacity, texture, and more. As in Photoshop, you can apply strokes and shadows to any font. New stroke styles arrived in the 2019 update, letting those with very particular typographic needs choose the type of caps the strokes have, including miter, round, and bevel. Advanced text animation, however, once again falls to After Effects. By comparison, enthusiast-level programs like PowerDirector and Pinnacle Studio offer a good selection of title animations right in the video editor.

A new caption editing tool landed in the March 2021 update. With this panel, you can redistribute words among the captions, each of which becomes a separate timeline clip. You can split or merge caption clips and edit the style of all the separate caption clips at once. When done, you can export to an SRT or text file or burn the captions into your video project. A transcription feature that will generate captions from dialog in your clips is in beta.

Output and Performance

Above I made note of the new, simplified Export interface in Premiere, but that doesn’t mean you can’t go into every little detail about the file you’ll be rendering. You now see a list of common output targets along the left—Media File, YouTube, Vimeo, Twitter, and Facebook, along with Adobe’s own Behance and Creative Cloud online services. Importantly, you can export to as many as you want with one press of the Export button, after switching on the button for all those you want.

The categories in the middle all allow for fine-tuning, thanks to dropdown arrows. For example, click on Video here, and you can set not only the frame size, frame rate, and aspect ratio, but also the bit rate, color space, and time interpolation. For the rest of us, the new interface thankfully hides those brain-hurting settings.

Premiere Pro offers most formats you’d ever want, and for more output options you can use the Adobe Encoder, which can target Facebook, Twitter, Vimeo, DVD, Blu-ray, and many other devices. Encoder lets you batch encode to target multiple devices in a single job, such as mobile phones, iPads, and HDTVs. Premiere also can output media using H.265 and the Rec. 2020 color space, as can Final Cut. However, Final Cut requires you to buy the separate Compressor 4 for $49.99 for this functionality.

A Quick Export option lets you tap the up-arrow share icon at top right, and you can produce the project with minimal fuss using a choice of seven preset formats: Match Source – Adaptive High, Medium, or Low Bitrate; 4K, 1080p, 720p, and 480p.

Premiere Pro takes advantage of 64-bit CPUs and multiple cores. I tested on my home workstation, a PC running 64-bit Windows 10 Pro with a 3.4GHz Core i7 6700 CPU, 16GB RAM, and an Nvidia GeForce GTX 1650. I tested the macOS version on 3.1GHz MacBook with Intel Core i5 and 8GB RAM and Intel Iris Plus 650 graphics.

A rendering test of a 5-minute project consisting of a mix of 4K, HD, and SD clips, with various transitions applied, to H.264 at 1080p30 with a target bit rate of 15Mbps took Premiere Pro 1:40 (min:sec) on the PC. That was a respectable time, though Corel VideoStudio aced the test with 1:12 and Pinnacle Studio slightly beat out Premiere Pro with a time of 1:31. Both are much faster than Adobe’s consumer version of Premiere—Elements—which took 3:41.

The program didn’t crash on the PC the way it used to, and the way Final Cut still sometimes does on the Mac. Premiere periodically auto-saves your work, in case you forget to save explicitly.

Adobe Premiere Pro on the Mac

A good portion of video editors prefer working on Apple Macintosh computers, so naturally Premiere Pro is available on that platform. It runs on the new Apple M1-based computers with the help of Rosetta 2, though not natively. The macOS version matches the Windows 10 version feature-for-feature, so anything you read below or above applies to both. Except for performance: I tested the macOS version on a 3.1GHz MacBook with Intel Core i5 and 8GB RAM, which is admittedly not a video-editing powerhouse.

My test project took Premiere Pro 2:31 (min:sec) to render on the test MacBook Pro. That compares favorably with Premiere Elements’ 7:31, but not so much with CyberLink PowerDirector, which did the deed in a mere 57 seconds. Final Cut Pro took 3:55 in two tests, but then suffered system instabilities.

Worthy of the Red Carpet

There’s no denying that Premiere Pro can do everything the professional video editor needs, and Adobe’s pro video editing software takes the lead when it comes to collaboration features. Its close integration with After Effects, Photoshop, Audition, and the whole Creative Cloud suite is a definite boon, too. It’s a massive program with an enormous set of capabilities that even a lengthy review like this can hardly do justice. With its large tool set, fine performance speed, and rich ecosystem, Adobe Premiere Pro earns an Editors’ Choice award for professional video editing software. Apple Final Cut Pro’s interface is more innovative in some ways, and the app adds extremely helpful tools, such as Roles, Auditions, and Clip Connections, making it a co-winner in the category.