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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.

Note:

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.

Whether a frame can be processed by the GPU acceleration part of the Mercury Playback Engine depends on the size of the frame compared to the amount of GPU memory. A frame requires ((width x height) / 16,384) megabytes to be processed by GPU acceleration. If that value exceeds the available memory, Premiere Pro uses the CPU only for rendering of the current segment. This means that some images do not use CUDA acceleration on some cards and use CUDA acceleration on others. For example, one image size from a Canon T2i is 5184 × 3456. This requires 1,094 MB, which just exceeds the 1 GB available on the Quadro FX 3800, but is still within the 1.5 GB of the Quadro FX 4800.

Supported native video and audio formats for import

Adobe Premiere Pro supports several audio and video formats, making your post-production workflows compatible with the latest broadcast formats.

Note:

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.

Premiere Pro provides built-in support for the ARRI AMIRA camera, with appropriate color LUTs applied as master clips on import.

Premiere Pro provides the ability to import ALEXA LF (Large Footage) file format.

You can work natively with Canon XF and Canon RAW footage, including footage from Canon Cinema EOS C300 and C500 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:

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• Camera Manufacturer
• Camera Model
• Video Codec
• Video Bit Rate
• ISO Sensitivity
• White Balance Color Temperature
• Capture Gamma
• Capture Gamut

You can natively import and edit Phantom Cine media shot on Vision Research Phantom cameras.

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

Note:

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

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, seethis video tutorial.

Supported still‑image and still-image sequence file formats

Note:

Premiere Pro supports 8bpc (4 bytes per pixel) and 16bpc (8 bytes per pixel) still-image files.

Supported closed captioning and subtitle file formats

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:somewheresomething'). 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.

Select a VFR clip in the Project panel or the Source Monitor, and click Master Clip Effect in the Effect Controls panel.

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.

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.

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• 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.

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