How To Change The Sequence Settings In Premiere

Adobe Premiere Pro User Guide
Beta releases
1. Beta Program Overview
2. Premiere Pro Beta Home
Getting started
1. Get started with Adobe Premiere Pro
2. What's new in Premiere Pro
3. Release Notes | Premiere Pro
4. Keyboard shortcuts in Premiere Pro
5. Accessibility in Premiere Pro
Hardware and operating organization requirements
1. Hardware recommendations
2. Organisation requirements
3. GPU and GPU Commuter requirements
4. GPU Accelerated Rendering & Hardware Encoding/Decoding
Creating projects
1. Showtime a new project
2. Open up projects
3. Move and delete projects
4. Work with multiple open projects
5. Piece of work with Project Shortcuts
6. Backward compatibility of Premiere Pro projects
7. Open and edit Premiere Rush projects in Premiere Pro
8. All-time Practices: Create your own projection templates
Workspaces and workflows
1. Workspaces
2. FAQ | Import and export in Premiere Pro
3. Working with Panels
4. Windows touch and gesture controls
5. Utilise Premiere Pro in a dual-monitor setup
Capturing and importing
1. Capturing
  1. Capturing and digitizing footage
  2. Capturing Hard disk, DV, or HDV video
  3. Batch capturing and recapturing
  4. Setting upwards your organization for Hd, DV, or HDV capture
2. Importing
  1. Transfer files
  2. Importing still images
  3. Importing digital audio
3. Importing from Avid or Concluding Cut
  1. Importing AAF projection files from Avid Media Composer
  2. Importing XML project files from Last Cutting Pro 7 and Final Cut Pro X
4. Supported file formats
5. Digitizing analog video
6. Working with timecode
Editing
1. Sequences
  1. Create and change sequences
  2. Add clips to sequences
  3. Rearrange clips in a sequence
  4. Discover, select, and grouping clips in a sequence
  5. Edit from sequences loaded into the Source Monitor
  6. Simplify sequences
  7. Rendering and previewing sequences
  8. Working with markers
  9. Scene edit detection
2. Video
  1. Create and play clips
  2. Trimming clips
  3. Synchronizing sound and video with Merge Clips
  4. Return and supercede media
  5. Undo, history, and events
  6. Freeze and hold frames
  7. Working with aspect ratios
3. Audio
  1. Overview of sound in Premiere Pro
  2. Audio Track Mixer
  3. Adjusting volume levels
  4. Edit, repair, and improve audio using Essential Sound panel
  5. Automatically duck sound
  6. Remix audio
  7. Monitor clip volume and pan using Audio Clip Mixer
  8. Sound balancing and panning
  9. Advanced Sound - Submixes, downmixing, and routing
  10. Sound effects and transitions
  11. Working with audio transitions
  12. Utilize furnishings to audio
  13. Measure audio using the Loudness Radar event
  14. Recording audio mixes
  15. Editing audio in the timeline
  16. Audio aqueduct mapping in Premiere Pro
  17. Use Adobe Stock audio in Premiere Pro
4. Advanced editing
  1. Multi-photographic camera editing workflow
  2. Editing workflows for characteristic films
  3. Set upwards and use Head Mounted Display for immersive video in Premiere Pro
  4. Editing VR
5. All-time Practices
  1. Best Practices: Mix audio faster
  2. All-time Practices: Editing efficiently
Video Furnishings and Transitions
1. Overview of video effects and transitions
2. Furnishings
  1. Types of effects in Premiere Pro
  2. Apply and remove effects
  3. Issue presets
  4. Automatically reframe video for different social media channels
  5. Colour correction effects
  6. Alter duration and speed of clips
  7. Adjustment Layers
  8. Stabilize footage
3. Transitions
  1. Applying transitions in Premiere Pro
  2. Modifying and customizing transitions
  3. Morph Cut
Graphics, Titles, and Animation
1. Graphics and titles
  1. Overview of the Essential Graphics panel
  2. Create a title
  3. Create a shape
  4. Check spelling and Observe and Supplant
  5. Apply text gradients in Premiere Pro
  6. Add Responsive Blueprint features to your graphics
  7. Employ Motion Graphics templates for titles
  8. Replace images or videos in Motion Graphics templates
  9. Use information-driven Motility Graphics templates
  10. Best Practices: Faster graphics workflows
  11. Working with captions
  12. Oral communication to Text
  13. Speech to Text in Premiere Pro | FAQ
  14. Upgrade Legacy titles to Source Graphics
2. Animation and Keyframing
  1. Adding, navigating, and setting keyframes
  2. Animating effects
  3. Use Motion effect to edit and animate clips
  4. Optimize keyframe automation
  5. Moving and copying keyframes
  6. Viewing and adjusting effects and keyframes
Compositing
1. Compositing, alpha channels, and adjusting clip opacity
2. Masking and tracking
3. Blending modes
Color Correction and Grading
1. Overview: Color workflows in Premiere Pro
2. Motorcar Color
3. Get artistic with colour using Lumetri looks
4. Adjust color using RGB and Hue Saturation Curves
5. Correct and match colors between shots
6. Using HSL Secondary controls in the Lumetri Color panel
7. Create vignettes
8. Looks and LUTs
9. Lumetri scopes
10. Display Color Management
11. HDR for broadcasters
12. Enable DirectX HDR support
Exporting media
1. Export video
2. Export Preset Manager
3. Workflow and overview for exporting
4. Quick export
5. Exporting for the Web and mobile devices
6. Export a yet image
7. Exporting projects for other applications
8. Exporting OMF files for Pro Tools
9. Export to Panasonic P2 format
10. Best Practices: Export faster
Collaboration: Frame.io, Productions, and Team Projects
1. Collaboration in Premiere Pro
2. Frame.io
  1. Install and activate Frame.io
  2. Utilize Frame.io with Premiere Pro and After Effects
  3. Ofttimes asked questions
3. Productions
  1. Using Productions
  2. How clips work beyond projects in a Production
  3. Best Practices: Working with Productions
4. Team Projects
  1. What's New in Team Projects
  2. Become started with Team Projects
  3. Create a Team Projection
  4. Add together and manage media in Team Projects
  5. Collaborate with Team Projects
  6. Share and manage changes with Team Project collaborators
  7. Archive, restore, or delete Squad Projects
Working with other Adobe applications
1. Later on Effects and Photoshop
2. Dynamic Link
3. Audition
4. Prelude
Organizing and Managing Assets
1. Working in the Project panel
2. Organize assets in the Project panel
3. Playing assets
4. Search assets
5. Artistic Cloud Libraries
6. Sync Settings in Premiere Pro
7. Consolidate, transcode, and archive projects
8. Managing metadata
9. All-time Practices
  1. Best Practices: Learning from broadcast product
  2. Best Practices: Working with native formats
Improving Performance and Troubleshooting
1. Set preferences
2. Reset preferences
3. Working with Proxies
  1. Proxy overview
  2. Ingest and Proxy Workflow
4. Check if your system is uniform with Premiere Pro
5. Premiere Pro for Apple tree silicon
6. Eliminate flicker
7. Interlacing and field order
8. Smart rendering
9. Control surface back up
10. Best Practices: Working with native formats
11. Knowledge Base
  1. Known issues
  2. Fixed issues
  3. Green and pink video in Premiere Pro or Premiere Rush
  4. How do I manage the Media Cache in Premiere Pro?
  5. Fix errors when rendering or exporting
  6. Troubleshoot issues related to playback and functioning in Premiere Pro
Monitoring Avails and Offline Media
1. Monitoring assets
  1. Using the Source Monitor and Plan Monitor
  2. Using the Reference Monitor
2. Offline media
  1. Working with offline clips
  2. Creating clips for offline editing
  3. Relinking offline medInstia

Learn how to use the Timeline panel in Premiere Pro to create, assemble and rearrange sequences.

Want to follow along with the instructions? Open a project in Premiere Pro and go started!

Premiere Pro allows you to specify the settings for each sequence, trim clips, and assemble clips in sequences.

Every Premiere Pro project tin can contain one or more sequences, and each sequence in a projection can have unlike settings. You can assemble and rearrange sequences in one or more Timeline panels, where their clips, transitions, and effects are represented graphically. A sequence can consist of multiple video and audio tracks running parallel in a Timeline console. Multiple tracks are used to superimpose or mix clips.

A sequence must contain at to the lowest degree 1 video rails and ane audio rail. Sequences with audio tracks must also contain a master sound track, where the output of regular audio tracks is directed for mixing. Multiple audio tracks are used to mix audio

Timeline panels

A single Timeline panel appears in a frame in the lower central portion of the screen when you lot launch Premiere Pro. Y'all can open whatsoever of its default workspaces, or create a projection. You tin remove all sequences from a Timeline panel, or add multiple sequences to it. Each sequence appears equally a tab within that Timeline console. Y'all can besides open multiple Timeline panels, each inside its own frame, with each containing any number of sequences.

You can show or hide items by selecting, or deselecting them in the Timeline console carte du jour. These items include: fourth dimension ruler numbers, and the work area bar.

Open up a sequence in a Timeline panel

To open a new sequence in a timeline console, double click the sequence in the Project Panel. The sequence opens in a new tab in the Timeline panel.

Open extra Timeline panels

You can open more than than one Timeline panel if you have more than one sequence in a project. When y'all open up a sequence, it opens in a new tab. Drag the tab into some other docking surface area. The sequence appears in a new timeline.

Navigation controls in timeline

A Timeline panel contains several controls for moving through the frames of a sequence.

A. Time rulerB. Piece of work area barC. PlayheadD. Playhead positionEastward. Zoom gyre bar

Fourth dimension ruler measures sequences time horizontally. Numbers signal that the sequence time is displayed forth the ruler from left to correct. They modify according to the level of detail at which you view the sequence.

By default, these numbers are based on the timecode display style specified in the Brandish Format field of the Sequence Settings dialog box.

Work area bar specifies the expanse of the sequence that you desire to render previews, or to define a region you plan to export. The work area bar is located in the lower portion of the time ruler. The work area bar is not available by default. To activate information technology, click the three stacked lines next to the sequence name and choose Work Area Bar from the driblet-down list.

You tin drag the edges of the work expanse bar, or use keyboard shortcuts to set the work expanse in a sequence. For details, see Define the piece of work area for rendering.

Playhead, formerly called the Current-Time Indicator or CTI, indicates the current frame displayed in the Programme Monitor. The electric current frame displays in the Program Monitor. The playhead is a blue triangle on the ruler. A vertical line extends from the playhead to the lesser of the time ruler. You tin change the current fourth dimension past dragging the playhead.

Playhead position shows the timecode for the current frame in a Timeline panel. To movement to a different fourth dimension, click in the Playhead position and enter a new time. You can also place the pointer over the brandish and drag left or right.

Yous can change the display between timecode and the simple frame count. Ctrl-click (Windows) or Command-click (macOS) the electric current time in either a monitor or a Timeline console.

Zoom scroll bar is at the bottom of the Timeline panel. This bar corresponds with the visible area of the fourth dimension ruler in the Timeline. The Source Monitor and Program Monitor besides take zoom curl bars. You can drag the handles to change the width of the bar and change the calibration of the time ruler.

Important notes

Expanding the bar to its maximum width reveals the entire duration of the time ruler. Contracting the bar, zooms in for a more detailed view of the ruler. Expanding and contracting the bar is centered on the playhead.
By positioning the mouse over the bar, you can coil the mouse bicycle to expand and contract the bar.
By dragging the center of the bar, you tin scroll the visible office of a fourth dimension ruler without changing its scale. When you drag the bar, y'all are not moving the playhead. Even so, yous tin can motility the bar and then click in the time ruler to motion the playhead to the same area as the bar.
Gestures for macOS are supported for the zoom scroll bar.

Source track indicator represents a video or audio rail of the clip in the Source Monitor. Place into the head of the Timeline runway where you lot desire to insert or overwrite the source clip track.

Navigate in a sequence

To position the playhead in the timeline console, do any of the following:

In the time ruler, drag the playhead or click where you want to position the playhead.
Drag in the Playhead Position.
Click in the Playhead Position, blazon a valid time, and press Enter (Windows) or Return (macOS).
Use whatsoever playback control in the Programme Monitor.
To move the playhead in the direction you lot want, printing the Left Arrow or Right Pointer central.
Shift while pressing the arrow keys to move in increments of five frames.

To move to playhead using timecode, click the timecode value in the Playhead Position. Blazon a new time, and press Enter (Windows) or Render (macOS). Practice not use the number pad on macOS. You can apply any of the post-obit shortcuts when entering timecode:

Omit leading zeros.
For instance, 0;0;12;3 becomes 00;00;12;03.
Omit semicolons (NTSC) or colons (PAL).
For example, 1213 becomes 00;00;12;xiii for NTSC projects, and 00:00:12:xiii for PAL projects.
Enter values that exceed the normal values.
For instance, with 30-fps timecode, where the playhead is at 00;00;12;23. If you want to move 10 frames alee, you can change the frame number to 00;00;12;33. The playhead moves to 00;00;13;03.
Include a plus sign (+) or minus sign (–).
A plus sign or minus sign before a number moves the playhead ahead or dorsum a specified number of frames. For example, +55 moves the playhead ahead 55 frames.
Add a period.
A period before a number specifies an verbal frame number, rather than its timecode value. For instance, .1213 moves the playhead to 00;00;40;13 in an NTSC project, and to 00:00:48:xiii in a PAL project.

You tin also position the Choice tool over the timecode value and elevate to the left or right. The farther you lot drag, the more than quickly the timecode changes.

To snap to prune edges and markers, shift-drag the playhead in a Timeline panel.

To zoom into or out of a sequence in the timeline, do one of the following:

With the Timeline panel agile, press + to zoom in. To zoom out, printing -.
To zoom in, select the zoom tool. Click or elevate a marquee selection effectually the part of the sequence you want to see in more item. To zoom out, select the zoom tool, and then Alt-click (Windows) or Pick-click (macOS) an surface area in a Timeline panel.
Use the zoom whorl bar. To zoom in, drag the ends of the viewing area bar closer together. To zoom out, elevate them farther apart.
You tin can compression to zoom the Multi-Touch trackpad to zoom in and out of the sequence.
(Roman and Russian keyboards only) To zoom out so that the entire sequence appears in a Timeline panel, press the backslash (\) key. To zoom in to the view you had before pressing the backslash primal, press the backslash fundamental again.

When you have a long sequence of clips, many of them are out of view. If a clip is out of view, scroll horizontally in your sequence in the Timeline panel. For each of these commands, the Timeline panel need not be selected, yet, your mouse must hover over the Timeline panel.

Scroll the mouse wheel.
Use the Page Upwards key to motility left and the Page Downward central to movement right.
Press the Alt key (Windows), or Command key (macOS), and and then turn the mouse bicycle.
Drag the zoom ringlet bar at the lesser of the Timeline panel left or correct.
On Apple MacBook Pro computers, move 2 fingers horizontally on the Multi-Touch trackpad to navigate the sequence horizontally.

When video or audio clips are stacked up in tracks on the timeline, they tin sometimes be hidden from view. If a clip is out of view, scroll vertically in your sequence in the Timeline. Do one of the post-obit to curl vertically in a sequence in the Timeline. For each of these commands, the Timeline console need not be selected, however, your mouse must hover over the Timeline panel.

In the correct of the Timeline panel elevate upwardly or down in the gyre bar.
On Apple tree MacBook Pro computers, move 2 fingers vertically on the Multi-Touch trackpad to navigate the sequence vertically.

Piece of work with tracks

You lot can conform, edit and, add together special furnishings to clips in the video and sound tracks of the Timeline panel. Y'all can add or remove tracks as needed, rename them, and determine which to affect past a procedure.

Tracks

A. Video trackB. Sound track

Add tracks

New video tracks appear above existing video tracks, and new audio tracks appear below existing sound tracks. Deleting a track removes all clips in the track but does not affect source clips listed in the Project panel.

Any number of tracks can be added to a projection, limited only by your system's resources. You tin can add a rail equally you lot add together a prune to the sequence. Meet Add a rail while adding a clip.

With the Timeline panel agile, right click the runway and select Add Rail from the drib-down list. The Add together Tracks dialog box opens.

In the Add together Tracks dialog box, exercise any of the following:

To add the number of tracks you desire, enter a number in the Add field for video, sound, and audio submix tracks.
To specify the placement of added tracks, choose an option from the Placement bill of fare for each type of track added.
To specify the type of audio or submix rails you want to add, choose an option from the Rail Blazon card. (For more about audio channel types, see Sound tracks in a sequence.)

An audio track can accept only audio clips that apply the matching channel type—mono, stereo, or 5.1. If you're not sure what kind of sound your clips apply, select the clip in the Projection panel and read its information in the preview area.

Delete tracks

You can delete ane or more tracks at a time, whether video or sound.

With the Timeline console active, right click the track and select Delete Track from the driblet-down list. The Delete Tracks dialog box opens

In the Delete Tracks dialog box, bank check the box for each type of track you want to delete.

For each checked item, specify which tracks you want to delete in its carte.

Rename a rails

To rename a track, exercise the post-obit:

Right-click (Windows) or Ctrl-click (macOS) the track'south name and choose Rename.

Type a new name for the rail, and press Enter (Windows) or Return (macOS).

Sync Lock to prevent changes

By enabling Sync Lock on tracks, you can determine which tracks are affected when you perform operations like insert, ripple delete, or ripple trim. If a prune is part of an operation, the rail shifts regardless of their sync-lock country. The other tracks shift their clip content to the right only if their sync lock is enabled.

To enable Sync Lock for selected tracks, click the Toggle Syn Lock icon at the head of each video and audio track y'all want to lock.

Sync Lock for a selected track — Sync Lock for a selected rails

To enable Sync Lock for all tracks of a particular type (video or sound), Shift-click the Toggle Sync Lock icon at the head of whatever track of that blazon.

Sync Lock for tracks of a particular type

The Sync Lock icon appears in the box, and Sync Lock is enabled for those tracks.

To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon.

Track Lock to prevent changes

Locking an entire track is useful for preventing changes to any clips on that track while y'all work on other parts of the sequence. In a Timeline panel, a pattern of slashes appears over a locked track. Although clips in a locked track cannot be modified in whatsoever style, they are included when yous preview or export the sequence. If you want to lock both a video track and a track with corresponding audio, lock each track separately. When you lock a target rail, it is no longer the target. Source clips cannot be added to the runway until you unlock information technology and target it over again.

You can lock a track to prevent it from shifting when you perform insert edits.

To enable Track Lock for selected tracks, click the Toggle Track Lock icon at the head of each video and audio track.

Track Lock for a selected track — Rail Lock for a selected rail

To enable Track Lock for all tracks of a particular type (video or sound), Shift-click the Toggle Track Lock box at the caput of any track of that type.

Track Lock for tracks of a particular type — Rail Lock for tracks of a particular type

Exclude tracks in a sequence

Yous can exclude video or audio clips in any track from previews and consign. Clips in excluded video tracks appear as black video in the Program Monitor and in output files. Clips in excluded sound tracks are non output to the Audio Mixer, to the speakers, or to output files.

Tint wheels

Adjust the tint values in the shadows and highlights using the Shadow Tint and Highlight Tint wheels. Wheels with empty centers indicate that nothing has been applied. To apply the tint, click in the eye of the bike and elevate the cursor to fill in the wheels.

Click to hide the Eye icon (for video) or the Mute icon (for audio) at the left edge of the rails. (Each icon is a toggle switch. Click its box again to display the icon and include the track.)

Excluding a track with the Centre icon does not exclude information technology from outputs. If excluded tracks hold clips that run earlier or after clips on not-excluded tracks, black video appears earlier or later the last clips in the non-excluded tracks. To trim this catastrophe black video from the output files, prepare the In bespeak and Out point as desired in the Consign Settings dialog box.

To exclude all video or all sound tracks, Shift-click to hide the Eye icon (for video) or the Speaker icon (for audio). It excludes all tracks of the aforementioned type. (Each icon is a toggle switch. Shift-click its box over again to display all the icons and include the tracks.)

Set track display

You can customize the tracks in a Timeline panel in several ways. You tin aggrandize or plummet tracks to brandish or hide track controls. Choosing from several display options, you tin can control how video and audio clips appear on a track. You tin change the size of the header area or move the boundary betwixt the video and sound tracks to display more tracks of either type.

Aggrandize and resize a track

You lot can aggrandize a track to brandish track controls. Increase the height of a track to better encounter icons and keyframes or to display larger views of video rail thumbnails and audio track waveforms.

To resize the runway, position the pointer in the track header expanse between two tracks so that the height aligning icon appears. Then elevate upwards or downward to resize the rails below (for video) or the runway above (for sound).

Collapsed tracks always appear at the aforementioned elevation and cannot be resized.

You can expand an audio track to use the audio fade line for either individual clips in that track or for the unabridged sound track.

To resize the track header section, position the pointer over the right border of the rail header and so that the resize icon appears. Then drag the right edge. The icons at the top of the rails header limit its minimum width. The maximum width is about twice the minimum width.

Set the display style of a rails

Expand the rails by double clicking on it.

To customize the style of the video track, click Timeline Display Settings, the wrench tool on the timeline panel.

Timeline display settings

The checkbox for Display the project particular name and label color for all instances has been moved to Timeline Brandish Settings.

For information nigh viewing and adjusting keyframes in video and audio tracks, come across View keyframes and graphs.

Create a sequence

You can create a sequence by dragging the nugget to the New Item button at the bottom of the Projection console.

Y'all tin also create a sequence by using a sequence preset. The sequence presets included with Premiere Pro include the correct settings for common types of assets. For example, if you have footage mostly in DV format, use a DV sequence preset. For more than information, see Sequence presets and settings.

If you program to specify lower quality settings for output (such as streaming spider web video), don't change your sequence settings. Instead, alter your consign settings later.

When a merged clip is used to create a Sequence from Clip, in that location are empty stereo audio tracks, depending on the media format. Y'all can delete the empty stereo audio tracks if you desire.

You lot tin create a sequence from a selected prune which matches its attributes by doing the following:

Sequence presets and settings

The sequence settings must be right when you create the sequence. Sequence settings like timebase are locked once the sequence is created. It prevents unwanted inconsistencies that could event from changing sequence settings subsequently.

When creating a sequence, you tin select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence setting preset. If you want full control over almost all the sequence parameters, get-go a new sequence and customize its settings.

Creating a sequence opens the New Sequence dialog box. The New Sequence dialog box contains three tabs, each with various settings: Sequence Presets, General, and Tracks.

Sequence Presets options

Available Presets are groups of sequence settings. Premiere Pro comes with several categories of sequence settings presets installed, like the following:

AVC-Intra
AVCHD
Digital SLR
DV-24p
DV-NTSC (North American standard)
DV-PAL (European standard)
DVCPRO50

DVCPROHD
HDV
Mobile & Devices
XDCAM EX
XDCAM HD422
XDCAM HD

These sequence settings presets incorporate the correct settings for the most typical sequence types. For example, use the AVC-Intra, DVCPRO50, and DVCPROHD sequence setting presets to edit AVC-Intra or DVCPRO cloth shot on Panasonic P2 video cameras. For DV25 cloth recorded in Panasonic P2 format, employ a preset for DV-NTSC or DV-PAL, depending on the television standard of the footage.

If you must change sequence settings that are unavailable, you can create a sequence with the settings you want. Then motility the contents of the current sequence into it.

Selecting a sequence preset

A sequence can comprise different types of assets, in different formats, and with diverse parameters. However, Premiere Pro performs best when the settings for a sequence lucifer the parameters of nigh of the assets used in that sequence. To optimize performance and reduce rendering times, observe out the asset parameters for the primary avails you want to edit before creating a sequence. After learning the nugget parameters, you tin create a sequence with settings to lucifer. Earlier capturing assets from a record-based device, learn these parameters besides, so that you tin can select the correct capture settings. Asset parameters include the post-obit:

Recording format (for example, DV, or DVCPRO Hard disk drive)
File format (for example, AVI, MOV, or VOB
Frame attribute ratio (for example, 16:9, or 4:3)
Pixel aspect ratio (for example, 1.0, or 0.9091)
Frame charge per unit (for case, 29.97 fps, or 23.976 fps)
Time base (for example, 29.97 fps, or 23.976 fps)
Fields (for example, progressive or interlaced)
Audio sample rate (for case, 32 Hz, or 48 Hz)
Video codec
Audio codec

You can utilize the Properties panel to discover many of these parameters for your assets. For more information, run across Viewing clip backdrop.

Alternatively, you tin can utilize a third-party application, such as the freeware MediaInfo or GSpot Codec Information Appliance. To observe the codecs used to generate a file, yous can also choose Window > Bear witness Picture Inspector in Apple QuickTime Thespian.

Assets can apply codecs non supported natively past Premiere Pro. Oft, you can edit these assets later on installing the relevant codecs. However, beware of installing untested codecs that introduce severe bug with your computer system.

Create a custom sequence preset

To customize nigh sequence settings, you lot must starting time a new sequence, select an existing preset, and change its settings.

Every editing manner does not support every possible frame rate. To create a custom preset with, for instance, a 23.976-fps, select "Custom" as the Editing Mode. Then, select 23.976-fps frame rate from the Timebase menu.

Choose File > New > Sequence, or, in the Project panel, click the New Particular button and select Sequence.

In the Sequence Presets tab of the New Sequence dialog box, select the preset that matches your video footage or the requirements of your capture menu.

If you create a custom sequence with Custom settings (accessed in the Editing Mode driblet-down list), you do not have to select a preset before clicking the Settings tab.

Modify the Settings, Tracks or, VR Video tabs to meet the needs of your projection.

Name the preset and add a clarification.

Click OK to save the preset

Change sequence settings

You tin change some of the settings for an existing sequence. Depending on the Editing Mode selected, some of the settings are fixed.

Select Sequence > Sequence Settings.
In the Project console, correct-click a sequence, and select Sequence Settings.

sequence_settings

Select the desired settings. For more data, see Settings.

Sequence settings

The settings tab in the New Sequence dialog box controls the central characteristics of the sequence.

Choose settings that conform to the specifications for the blazon of output intended for your project. For example, if your target output is DV NTSC, employ the DV NTSC editing style. Irresolute these settings arbitrarily oft results in a loss of quality.

Editing Fashion

Editing style determines the video format used for preview files and playback. Choose an Editing Mode option that best matches the specifications of your target format, preview display, or capture menu. The editing mode does not decide the format of your last movie. Output settings can exist specified during export. The Custom editing fashion allows you to customize the other sequence settings.

(Windows just) To access the Uncompressed UYVY 422 viii-Fleck codec or the V210 10-bit YUV codec, select Desktop for the Editing Fashion.

Timebase

Timebase specifies the time divisions that Premiere Pro uses to calculate the time position of each edit. In full general, cull 24 for editing motion-picture motion picture, 25 for editing PAL (European standard) and SECAM video, and 29.97 for editing NTSC (North American standard) video.

Video

Frame Size
Frame size specifies the dimensions, in pixels, for frames when yous play back sequences. In nearly cases, the frame size of your project matches the frame size of your source files. Do not modify the frame size to compensate for dull playback. Instead, choose a unlike quality setting from the Project console carte du jour. Alternatively, you can adjust the frame size of last output by changing consign settings.
The maximum frame size for a sequence is x,240x8,192.
Scale move effects proportionally when changing frame size
This allows the user to scale the move event while changing sequences.
A very common film workflow involves sequences having black bars on the superlative and bottom. Project data like timecode or prune name are displayed in these black bars. When this information is not required, yous can change the sequence without damaging the clip.
Pixel Attribute Ratio
Pixel Attribute ratio sets the aspect ratio for individual pixels. Choose Square Pixels for analog video, scanned images, and figurer-generated graphics, or choose the format used by your source. If you employ a pixel aspect ratio dissimilar from the pixel attribute ratio of your video, the video ofttimes gets rendered with distortion.
Fields
Fields specify the field order of a frame. If y'all piece of work with progressive-scan video, select No Fields (Progressive Browse). Many capture cards capture fields regardless of whether the source footage was shot with progressive scan.
Brandish Format
Premiere Pro can display any of several formats of timecode. You can display the project timecode in a film format. For example, if you are editing footage captured from moving picture. You tin display timecode in simple frame numbers if your avails came from an animation plan. Changing the Display Format selection does not change the frame rate of clips or sequences. Information technology changes but how their timecodes are displayed. The time display options correspond to standards for editing video and movement-picture show picture. For Frames and Anxiety + Frames timecodes, you tin change the starting frame number to match the time-counting method of another editing organization you apply.

When working with NTSC video assets, apply xxx-fps driblet-frame timecode. This format conforms with the timecode base inherent in NTSC video footage and displays its duration nearly accurately.

Audio

Aqueduct Format
Channel format allows you to choose the format of the sequence.
Sample Rate
College quality audio requires more deejay space and processing. Resampling, or setting a dissimilar rate from the original audio, requires additional processing time and affects the quality.
Display Format
Brandish format specifies whether audio fourth dimension display is measured using audio samples or milliseconds. Brandish Format applies when Bear witness Sound Time Units is selected in the Source Monitor or Program Monitor menu. (By default, time is displayed in frames, but it can exist displayed in audio units for sample-level precision when y'all are editing sound.)

Video Previews

Preview File Format
Preview file format allows you lot to select a file format that gives the all-time quality preview while keeping the rendering fourth dimension and file size small. For certain editing modes, only ane file format is available.
Codec
Codec specifies the codec used for creating preview files for the sequence.
(Windows simply) The Uncompressed UYVY 422 8-bit codec and the V210 10-scrap YUV codec match the specifications for SD-SDI and HD-SDI video respectively. Select one of these codecs if you intend to monitor or output to ane of these formats. To admission either of these formats, first choose the Desktop Editing Style.
Width
Width specifies the frame width of video previews, constrained by the pixel aspect ratio of the original media.
Height
Height specifies the frame height of video previews, constrained by the pixel aspect ratio of the original media.
Reset
Reset clears existing previews and specifies full size for all following previews.

If you use a clip without applying furnishings or changing frame or fourth dimension characteristics, Premiere Pro uses the original codec of the clip for playback. If you make changes that crave recalculation of each frame, Premiere Pro applies the codec that y'all choose here.

Maximum Flake Depth

Maximum Bit Depth maximizes the color bit depth to include the video played back in sequences. This setting is oftentimes not available if the selected compressor provides only one choice for bit depth. Y'all can likewise specify an viii-scrap (256-color) palette when preparing a sequence for eight-bpc color playback, such as when using the Desktop editing way for the web or for some presentation software. If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files.

Maximum Render Quality

Maximum Render Quality maintains abrupt particular when scaling from big formats to smaller formats, or from loftier-definition to standard-definition formats. Maximum Render Quality maximizes the quality of motion in rendered clips and sequences. Selecting this option often renders moving avails more sharply.

At maximum quality, rendering takes more time, and uses more RAM than at the default normal quality. Select this pick only on systems with enough RAM. The Maximum Render Quality option is non recommended for systems with the minimum required RAM.

Maximum Render Quality often makes highly compressed image formats, or those containing compression artifacts, expect worse considering of sharpening.

Save Preset

Opens the Save Settings dialog box, where you tin name, describe, and save your sequence settings.

Save and name your sequence settings even if you plan to use them in only one projection. Saving settings creates a backup re-create of the settings to which y'all tin revert in case someone accidentally alters the current sequence settings.

Some sequence presets have only 1 file format and codec choice.

Create different types of sequences

You can edit widescreen footage shot in DV, HDV, or HD formats. To display and play back widescreen assets correctly, you must set your sequence settings to suit widescreen assets.

Select File > New > Sequence.

Select a preset that matches your footage. Do one of the following:

For DV footage, select either the DV-NTSC or DV-PAL presets with Widescreen in its proper name. These utilize horizontal pixels (with pixel aspect ratios of i.2 for NTSC and 1.422 for PAL).
For an HDV project, select an HDV preset using HD Anamorphic 1080 (pixel attribute ratio 1.333) or Square pixels (pixel aspect ratio 1.0).
For an Hard disk drive project, select one of the presets provided with your Hard disk capture carte.

presets-2

Enter a name in the Sequence Name field and click OK.

You can edit HDV footage or Hard disk footage in 720p, 1080p, or 1080i. When creating a sequence for these formats, select the preset that all-time matches the specifications of your source footage.

The DVCPROHD presets included with are for editing fabric recorded to MXF files with a Panasonic P2 camcorder. Premiere Pro has presets also for AVCHD, XDCAM Hard disk, and XDCAM EX. More Hard disk sequence presets are installed into Premiere Pro when an Hard disk drive capture card that supports Premiere Pro is installed.

For HDV footage, create and save a custom preset with settings to match the settings of your footage. For more than information about creating custom sequence presets, see Create a custom sequence preset.

For all-time playback performance, it is sometimes helpful to render Hd footage when you beginning place it into a sequence.

Select File > New > Sequence.

To edit DVCPROHD 720p footage shot at 25 fps, cull the DVCPROHD 720p 50p preset. For example, 25pN native manner footage from PAL versions of the Panasonic HVX200 camera. Then, select the Full general tab. Then, from the Timebase drop downward list, select 25.00frames/2d.

The New Sequence dialog box opens with the Sequence Preset tab selected.

Select a preset that matches your footage.

(Optional) To set the number of channels in the Principal sound rail, select the Tracks tab. In the Master carte du jour in the Sound pane, select one of the following:

Mono

Outputs a single mono channel.

Stereo

Outputs two mono channels with stereo panning intact.

v.1

Outputs four mono channels respecting the Left-Front end, Right-Forepart, Left-Rear, and Correct-Rear panning.

For the highest-quality previews of sequences on an SDI card or device connected to an external monitor, use i of the uncompressed formats for preview files. Uncompressed 8 chip (4:2:2 YUV) is suitable for projects meant for SD output, while Uncompressed x chip (4:ii:ii YUV) is best for projects meant for HD. Also, with Uncompressed x-fleck (4:two:ii YUV) and high bit-depth color rendering Premiere Pro uses the color information in ten-bit avails and up samples other assets in a sequence to generate 10-bit preview files. Premiere Pro delivers the best preview performance when using these preview file formats on a system with a supported SD-SDI or HD-SDI carte installed.

Both these uncompressed formats do subsample video files at 4:ii:2 YUV. Unlike the other file formats bachelor for preview files, they practise not then run the video data through a compressor. They are chosen uncompressed considering they do not add this 2nd layer of compression. And hence retain much higher color depth in the previews than the compressed formats. Therefore, uncompressed preview files tin can be quite a flake larger than compressed preview files.

Select File > New > Sequence.

In the New Sequence dialog box, click the Settings tab.

In the Editing Manner menu, choose desired editing mode.

In the Timebase menu, cull the desired frame rate, such every bit 24, 25 or 29.97 frames/second.

In the Video department, choose the desired settings for Frame Size, Pixel Aspect Ratio, Fields, and Display Format. For example, 1920 ten 1080, Square Pixels (1.0), No Fields (Progressive Scan), and thirty-fps Drop-Frame Timecode.

In the Audio section, choose the desired settings for Sample Rate and Display Format.

In the Video Previews department, choose i of these sets of preview file formats and codecs, depending on your system:

For Windows, choose Preview File Format: Microsoft AVI and Codec: None (alternatively choose Uncompressed UYVY 422 8 bit).
For macOS, choose Preview File Format: QuickTime and Codec: None (alternatively choose Uncompressed YUV 10 flake four:two:2 or Uncompressed YUV 8 bit 4:2:2).

Y'all see different file format and codec choices depending on your optional hardware capture/playback carte.

(Optional) Check the Maximum Bit Depth bank check box if your system supports 10 chip or greater formats.

(Optional) If you plan to utilize uncompressed playback over again, click Relieve Preset, give the preset a name and description, and click OK.

Enter a name for the sequence and click OK.

Footage acquired from a camcorder or past film transfer, at roughly 24 non-interlaced (progressive) fps is called 24p footage. This footage emulates pic in its picture quality and depiction of movement. The 24p frame charge per unit is very close to that of move-motion-picture show movie. Each frame is built from progressive lines (not from interlaced half-frame fields). 24p formats have become popular amid low-budget digital filmmakers considering they lend a movie look to its subjects.

Premiere Pro includes two alternate 24p pulldown schemes for DV 24p: Repeat Frame and Interlaced Frame. Both options convert 24p footage so that information technology plays back at 29.97 fps, but at that place are subtle visual and performance differences between them. You tin can select one of these options in the New Sequence settings when starting a new DV-24p sequence, or change information technology in an existing sequence.

Premiere Pro accepts 24p and 24-Pa footage only from cameras using these pulldown schemes.

Select File > New > Sequence.

From the Bachelor Presets listing on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage. 24p presets are located in the DV-24p, DVCPRO50 > 480i, DVCPROHD > 1080i, and DVCPROHD > 720p folders.

Type a proper name for your sequence.

If y'all capture 24p footage, Premiere Pro recognizes the footage as 24p and treats information technology regardless of your sequence settings.

Set 24p playback options

Yous prepare playback settings when y'all create a sequence.

Choose File > New >Sequence.

In the New Sequence dialog box, click the General tab.

In the 24p Conversion Method pane, select one of the following options:

Repeat Frame (ABBCD)

Duplicates frames where necessary to maintain 29.97-fps playback. This option uses fewer CPU resources.

Interlaced Frame (2:3:three:2)

Combines the frames in a telecine-similar scheme to maintain 29.97-fps playback. This choice produces polish playback but uses more CPU resources.

Click OK in the Playback Settings dialog box, and click OK in the New Sequence dialog box.

Disable 24p pulldown

Past default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at 29.97 fps in a project based on one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a motion-picture show transferred to video or circulate, without frame interpolation.

Right-click (Windows) or Control-click (macOS) a 24p clip in the Project panel.

Select Modify > Translate Footage.

Nether Frame Rate, select Remove 24p DV Pulldown.

You can employ any of few third-party motion-picture show-expect plug-in effects to the master sequence. These plug-ins tin often perform telecine-way conversion, or add grain or color correction to simulate various film stocks. Pay close attention to lighting and, during shooting, use tripods and exercise tedious pans to create the advent of using a heavy picture show camera. Attention to these details gives your projection more of a picture show expect.

Brandish 24p source timecode

When yous import 24p footage, Premiere Pro treats it as 23.976-fps progressive footage. When you lot work with 24p footage in a 24p project, the timecode is displayed as 24 fps. However, the camera records and logs 24p footage in 30-fps not-drop-frame timecode. When you log 24p footage for capture, you lot log clips according to the photographic camera's timecode count of 30- fps not-drop-frame timecode.

If y'all use thirty-fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you lot view the properties of your 24p clip, the frame charge per unit is shown as 23.976, but the timebase as 29.97. If yous'd prefer to read a clip'southward original timecode, practice the following:

Right-click (Windows) or Control-click (macOS) the clip in the Projection panel.

Select Modify > Interpret Footage > Use Frame Rate from File.

You can edit video for delivery to mobile phones, portable media players, and other portable devices. Selecting a project preset that matches the requirements of the target device is the easiest style to get started. When you are done editing your movie, utilize Adobe Media Encoder to encode it with the audio and video characteristics right for the target devices.

From the Welcome screen, click New Projection.
Select File > New > Projection.

In the New Project dialog box, click OK.

In the New Sequence dialog box, select the Sequence Presets tab.

Select the Mobile & Devices presets binder. Practise one of the post-obit:

To edit a movie aimed exclusively at devices supporting 3GPP video at frame sizes of 176x144 or 88x72, select the CIF, QCIF, QQCIF preset.
To edit a movie for distribution on the spider web or on mobile devices that can brandish 4:iii video at frame sizes of 320x240 or 128x96, select the iPod, QVGA, Sub-QCIF preset.

Enter a name in the Sequence Proper name field and click OK.

Using multiple sequences

A single project can contain multiple sequences with different settings. You select settings for each sequence when you create information technology, but you can change some of these settings later a sequence is created.

To switch sequences, in the Program Monitor or in the Timeline panel, click the tab of the sequence y'all desire to utilise. The sequence becomes the frontmost tab in both panels.
To view a sequence in a separate Timeline console, drag the Sequence tab away from the panel to an empty area. Ctrl-drag (Windows), or Command-drag (macOS) to prevent the panel from docking.
To open a sequence in the Source Monitor, press Ctrl/Command and double-click the sequence in the Projection panel. In the Timeline panel, printing Ctrl/Command and double-click a nested sequence.