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Premiere’s interface borrows the tabbed panels and detachable panes you’ll find in Photoshop, After Effects, and other Adobe CS3 applications. It looks a little cluttered, but it’s easy to navigate and customize.

The prodigal son returns. It’s been about five years since Premiere, Adobe’s video-editing software, made its quiet exit from the Mac stage. But Apple’s recent shift to Intel chips made it possible for Adobe to move its flagship video editor from Windows exclusivity back to the Mac, where it all began in 1991.

Of course, Adobe has picked a competitive time to come a-knockin’. Apple has not only kept Final Cut Pro in top fighting form, but also offers the surprisingly good Final Cut Express ($299), which is aimed squarely at the intermediate users that Premiere used to attract. Avid, too, has kept its Xpress Pro editor fairly competitive, and it still enjoys a loyal user base. Given the stiff competition, can Premiere carve out a piece of the Mac video-editing pie? We were skeptical, but getting reacquainted with this new and improved version of Premiere has left us impressed.

When last on the Mac, Premiere earned itself a so-so reputation because it lacked cutting-edge features and suffered from more than its fair share of bugs and glitches. That’s not the case this time around - Premiere proved very stable in our tests and sported some industrial-strength features, although it still has a few holes we’d like to see filled.

Premiere can work with major video formats such as plain-Jane DV video, HDV (in native form, no rendering to an intermediate codec necessary), and uncompressed standard-definition and high-definition video (provided you have a compatible third-party capture card from the likes of Blackmagic or AJA). But we were disappointed that Premiere can’t work with DVCPRO HD video, a popular format used by Panasonic cameras. Premiere can’t handle video from Sony’s XDCAM HD cameras or the new AVCHD format used in many new consumer camcorders these days, either. Adobe says that expanded format support will come in the future, but for now, Premiere’s repertoire is a bit limited.

But things improve from there. Provided your footage is compatible, you’ll have a lot of options for turning it into something amazing. For instance, you can view your project clips in a variety of text and thumbnail views, split master clips into smaller subclips, and quickly home in on clips with an effective search feature. You can also perform advanced ripple and roll edits, slips and slides, and replace edits. And unlike the Premiere of old, this version lets you create multiple timelines and nest them together.

On the audio side, Premiere includes plenty of standard audio effects, and works with VST-compatible plug-ins. You can also mix your tracks with a mixing-board-style interface, though you might want to use Adobe’s Soundbooth app for advanced sound work. As for video effects, you’ll find dozens of filters, from blurs to levels and other color-correction controls to more stylized fare, and many After Effects plug-ins work with Premiere as well. Premiere can show real-time previews of multiple effects layers, as well, saving rendering time.

When you’re finished with your edit, you can record it back to tape, or export it in any number of formats (MPEG-2, MPEG-4, H.264, Flash), although without the advanced batch processing of Apple’s Compressor. Finally, you can consolidate your project for archival purposes, saving only the media your edit used.

Comments, anyone? Clip Notes converts your video into the PDF file format, and then lets anyone with Adobe Reader watch it and type in their notes at any point in your video.

Besides these basics, Premiere also sports plenty of advanced features. A great multicam editing tool lets you quickly sync clips together and then edit the best selections onto the timeline by cutting between them in real time. You can mix and match different video formats (say, DV and HDV) on the same timeline without rendering. You can customize keyboard shortcuts and rearrange the interface’s layout. There’s also a nice time-remapping feature that lets you slow down and speed up footage directly in the timeline; it’s easier to figure out than Final Cut’s approach, and while it doesn’t achieve quite as smooth an effect as After Effects (which uses high-quality but slow-to-render optical flow technology), it’s a good blend between convenience and quality.

Premiere also sports tight integration with the CS3 editions of Adobe’s other media applications, and in fact, this is its secret weapon. If you spend the vast majority of your time solely working with raw camera footage, then there’s little reason to consider a switch from Apple or Avid editors to Premiere, given the learning curve of a new application, not to mention the expense. But if your editing work calls for you to integrate content from Adobe programs like After Effects, Photoshop, or Illustrator, you’ll find that Premiere can work with that content better than any other app.

Premiere’s integration with After Effects is especially impressive, thanks to a technology called Dynamic Link. For example, you can design a slick title graphics animation in After Effects, quickly bring it in to Premiere (without rendering), and then render it directly from Premiere’s timeline. If you continue to make tweaks to the comp in After Effects, you’ll automatically see the changes reflected in your Premiere video. Similarly, you can import your unrendered Premiere timelines into After Effects, and for quickest results, you can even copy and paste or drag and drop a sequence of clips from Premiere to After Effects, and edit the clips as individual layers of a comp. One caveat, though: Dynamic Link only works if you buy Adobe’s CS3 Production Premium suite or CS3 Master Collection. It won’t work if you buy Premiere and After Effects separately.

Photoshop integration is good, too, letting you import and animate Photoshop layers separately, then quickly return to Photoshop to make additional changes, which will be automatically reflected in Premiere. Another nice touch: You can launch Photoshop directly from Premiere, and a new Photoshop document will already match your video’s frame size and aspect ratio. You can import Illustrator files, and Premiere will automatically rerasterize your artwork if you scale it.

Premiere even integrates with Adobe’s PDF format. Thanks to the Clip Notes feature, you can export a compressed version of your video into a PDF file, then send it to clients or colleagues for review. They can type in comments at any point in the video and then send them back.

The bottom line. Premiere will miss out on many pro-level video projects until it accepts more video formats. Still, it has plenty of great stuff to offer, and it really sings for anyone who works a lot in other Adobe software.

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