Adobe Premiere Pro

Premiere Pro is the video editor that finishes the chain the Pocket 4 starts. The camera shoots 10-bit D-Log, the workflow needs a non-linear editor that handles that footage natively, and Premiere Pro reads the LUTs DJI provides without conversion or transcoding. Lumetri Color for grading, integrated audio mixing, and the same Edit In bridge to Photoshop that the rest of the suite shares.

The use here is everything video. StudioTJ atmospheric pieces — the photography extended into video. Subtext Lab in-person sections cut alongside narration tracks recorded on the SM58. Travel footage that didn't have a place to go before the Pocket 4 was in the kit. Project files measured in tens of gigabytes is the normal weight of any real video edit, and the editing rig handles them fine.

What Premiere isn't is reliable the way mature software ought to be. The application has a long history of project corruption, format incompatibility surprises, and version-to-version regression that DaVinci Resolve users delight in pointing out. Resolve is the gravitational alternative — free at the entry tier, broadcast-grade colour, and a stability reputation Premiere can't match. The reason Premiere stays here and not Resolve is workflow inertia: the rest of the suite is here, the LUT pipeline is here, and migrating mid-stream is the kind of decision that gets made when something breaks, not before.