An overview of codecs in Adobe Premiere Pro 1
Support ProVideo Coalition
Shop with Filmtools Logo

What Do You Think? Let Us Know.

Notify of
Newest Most Voted
Inline Feedbacks
View all comments
Warren Heaton

Another great article!

Before going with H265 as an edit CODEC, it’s worth learning about peak signal noise ratio (PSNR) and making an informed decision as to whether or not that matters. Apple’s white paper on ProRes offers a good explanation.

If I have to crank out quick social media spots that are unlikely to get any views beyond the initial 24 hours window of being posted – I’m good with editing H265.

If the edited file is the product, then it’s ProRes.

If by some miracle the project can be shot ProRes, edited ProRes, and delivered as ProRes… all the better. There’s likely to be no yellow line in the Premiere Pro Timeline until effects work and color correction and ProRes source in a ProRes Sequence exports to a ProRes file _extremely_ fast.

You Might Also Like