Camera
Head to Head: Apple Final Cut Pro vs Adobe Premiere Pro

There are some debates that stand the test of time. Chocolate or vanilla? (Both). Crunchy peanut butter or smooth? (Smooth). Nikon or Canon? (Pentax). But among video editors, especially the ones on YouTube, one scuffle comes up more than any other: Apple Final Cut Pro or Adobe Premiere Pro?
They both have ‘Pro’ in the name, so according to Apple nomenclature rules they should both be excellent. But for all the head-to-head editing shootouts and ‘why I switched’ anecdotes from disgruntled Adobe and/or Apple users, what matters in the end is raw performance.
Jump to:
Tests | Computers | Results | Key takeaways | Final thoughts
The tests
How quickly you can edit a video from start to finish in either Premiere Pro or Final Cut is largely a matter of personal preference and familiarity with each application’s quirks. Pure performance, on the other hand, is measurable. So we took an 8K project filmed on the Sony a1, compiled it into two identical 4K timelines with identical effects, scoured the settings to ensure everything was as similar as reasonably possible, and then ran both of these video editors through the same battery of tests.
Note: preview codec, target bitrates, and other settings in Adobe Premiere Pro were based on analyzing the Final Cut Pro files.
Apple Final Cut Pro | Adobe Premiere Pro |
---|---|
Render All – 4K ProRes 4:2:2 | Render In to Out – 4K ProRes 4:2:2 |
Export Master File | Export Using Sequence Settings |
Export H.264 – Better Quality | Export H.264 – Target Bitrate 51Mbps |
Export HEVC – 8-bit | Export H.265 – Target Bitrate 15Mbps |
Automatic Stabilization – 15 Second Clip | Warp Stabilize – 15 Second Clip |
If you’re curious, here’s the full video.
Coming up with tests that were close to identical was tricky because Final Cut Pro gives you less control over how and what you can render and export unless you also buy Apple’s Compressor software. For example, the difference between H.264 ‘Faster Encode’ and H.264 ‘Higher Quality’ isn’t explained anywhere in Apple’s documentation. It makes only a slight difference in total bitrate, and may be similar to Premiere Pro’s option for CBR vs VBR 1-pass vs VBR 2-pass encoding, but we have no way of knowing for sure.
We took 8K footage from a Sony a1, compiled it into two identical timelines with identical effects, scoured the settings to ensure everything was identical, and ran both of these video editors through the same battery of tests.
Similarly, previews for this piece were set by default to 4K ProRes 4:2:2 in Final Cut’s Project Settings, with no option to change the resolution of your previews without changing the resolution of the entire project/timeline or going through the additional step of generating proxy media.
To keep things as even as possible, all Final Cut Pro exports were done at ‘Better Quality’ and all Premiere Pro exports were configured to match the bitrate of the Final Cut File using VBR 1-pass encoding. Previews were rendered with identical settings in both programs, and ‘Use Previews’ was checked when exporting the master file (i.e. Match Sequence Settings in Premiere), since Final Cut will use the rendered previews by default.
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The computers
All 5 tests were run on 3 different computers: a 13-inch Intel MacBook Pro, a 24-inch M1 iMac, and a Razer Blade 15 Advanced. Specs were essentially maxed out on all three machines (see below), and each computer was fully charged and/or plugged in, with no other programs running in the background to take up memory, CPU, or GPU resources.
Test machine specs:
13″ MacBook Pro | 24″ iMac | Razer Blade 15 Advanced | |
---|---|---|---|
CPU | 10th-Gen Intel Core i7-1068NG7 | Apple Silicon M1 | 10th-Gen Intel Core i7-10875H |
Cores | 4 cores/8 threads | 8 cores | 8 cores/16 threads |
Clock Speed | 2.3GHz Base 4.1GHz Boost | 3.2GHz Max | 2.3GHz Base 5.1GHz Boost |
GPU | Intel Iris Plus with
1536MB VRAM |
8-core Apple Silicon GPU | NVIDIA RTX 3080 with 16GB VRAM |
RAM/Memory | 32GB 3733MHz LPDDR4X | 16GB unified memory | 32GB Dual-Channel 2933MHz DDR4 |
Storage | 4TB integrated SSD | 512GB integrated SSD | 1TB M.2 NVMe SSD |
Obviously we couldn’t run the Final Cut tests on the Razer laptop, but we felt it was important to include a high-powered Windows machine with an NVIDIA GPU in order to demonstrate the benefits of CUDA hardware acceleration in Premiere Pro. In fact, it’s the RTX 3080 laptop GPU inside the Razer Blade that really turned this head-to-head into a fair fight. When set to ‘Software Only’ encoding, you can expect these same exports and renders to take a brutal 3x to 5x longer.
It was important to include a high-powered Windows machine with an NVIDIA GPU in order to demonstrate the benefits of CUDA hardware acceleration
Unfortunately, we didn’t have an AMD laptop on hand to see how a Ryzen CPU or Radeon GPU would have fared compared to the Intel, Apple Silicon, and NVIDIA hardware tested here, but stay tuned because we have more head-to-head comparisons and computer reviews planned for the coming months.
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The results
You can see the full results of our testing in the graphs below. Each time is the average of at least three consecutive runs of every render, export, or stabilization run, with outliers thrown out if the system happened to glitch. Obviously, in this context, shorter bars mean better performance.
The first chart shows Final Cut Pro performance, comparing the MacBook Pro against the iMac:
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The second compares Premiere Pro performance across all three machines. Note that the iMac was tested using the Arm-optimized Beta version of Premiere Pro:
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The third and final graph shows Premiere Pro vs Final Cut Pro on the same scale, using the Razer as a high water mark for Premiere performance on Windows:
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For those who prefer numbers, the table below shows all the benchmarks we ran, with winning times for each task highlighted in green. You may spot a pattern here.
Apple Final Cut Pro | Adobe Premiere Pro | ||||
---|---|---|---|---|---|
MacBook | iMac | MacBook | iMac | Razer Blade | |
Render All | 09:57 | 05:12 | 25:53 | 07:40 | 08:50 |
Master File | 02:07 | 01:24 | 00:37 | 00:16 | 00:41 |
H.264 | 06:55 | 04:19 | 26:12 | 07:28 | 08:12 |
H.265 | 02:59 | 01:55 | 25:09 | 07:16 | 08:06 |
Stabilize | 00:55 | 00:25 | 02:36 | 02:06 | 03:13 |
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The takeaways
You can, of course, draw your own conclusions, but we noticed three major takeaways from these numbers.
1. Nothing beats a well-optimized app
We all hate on Apple’s walled garden from time to time, but having such tight integration of hardware and software comes with perks. Not only does Final Cut Pro on the M1 iMac sweep all but one category, just compare the Final Cut results from the relatively meager 13-inch MacBook Pro against the Premiere Pro results from the beefy Razer Blade 15. Even without a discrete GPU and 4 fewer CPU cores, the MacBook Pro running Final Cut still outperformed the Razer running Premiere in several benchmarks.
The MacBook Pro/Final Cut combo was able to export an H.264 file 1 minute and 17 seconds faster than the Razer in Premiere, while the H.265/HEVC export ran a full 5 minutes and 7 seconds faster. The Razer was still able to render previews and produce a master file more quickly, but it’s not the massive performance gain you would expect when going from a 4-core CPU and integrated graphics to an 8-core CPU and an RTX 3080.
Even without a discrete GPU and 4 fewer CPU cores, the MacBook Pro/Final Cut still outperformed the Razer/Premiere in several benchmarks.
Word to the wise: if you’re using a lower-end Intel-based Mac to do your video editing, and especially if you’re using high-resolution source footage, use Final Cut Pro. It will be 3x to 4x faster than Premiere in every category. The difference isn’t quite as drastic once you upgrade to Apple Silicon, but even there, you’re still looking at a significant bump in performance over Premiere.
2. If you are using Premiere Pro on a Windows machine, you will benefit hugely from a discrete GPU
Our Razer Blade 15 Advanced comes with the latest and greatest NVIDIA RTX 3080 laptop GPU complete with 16GB of dedicated VRAM. That will cost you a pretty penny, but even if you can’t afford the newest machine with the latest specs, picking up a laptop with a discrete GPU makes a big difference to both render and export times thanks to CUDA hardware acceleration.
It’s one of the main reasons the Intel MacBook Pro fares so badly in Premiere Pro, and we wouldn’t expect an equivalent PC with Intel integrated graphics to do any better.
3. When using the Arm-optimized Beta version of Premiere Pro, the M1 iMac was surprisingly fast
Here we see, once again, that Apple have something very special on their hands with the M1 chip. Unfortunately, the Intel version of Premiere Pro (running via Rosetta 2 emulation) was a mess on our M1 iMac: springing memory leaks, crashing, and causing all sorts of headaches. Before you know it, the app has taken up 90+GB of system memory and you have to force quit or the operating system will crash.
Fortunately, the current M1-optimized Beta is surprisingly stable and much faster. So much faster that it allowed the iMac to outperform the much more expensive Razer laptop in every single test. This bodes very well for future Apple Silicon devices already churning around in the rumor mill, as well as Arm-based Windows laptops.
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Cons: | Cons: |
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Raw performance is never the whole story, as I’m sure several people are busy writing in the comments section right now (hi guys!). Which app you use has just as much to do with the amount of control you demand, the color grading tools you prefer, and which corporation’s ethos you would rather subsidize.
In all things Apple, you give up control in exchange for stability, speed, and a seamless experience across MacOS and iOS devices. In all things Adobe, you give a little sanity and a monthly offering of cash or credit in exchange for the features, tools, and granular controls that many working pros demand.
Consider your own needs (and hardware) and choose wisely… or just say ‘screw it’ and download a copy of DaVinci Resolve.
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Camera
Inspiring US outdoor photography TV show gains national scope in third season
US Public Broadcasting Service’s (PBS) outdoor photography show is back for a third season with a broader, national scope and nationwide availability. View Finders has grown from a quiet regional favorite into a nationally distributed, Emmy-nominated PBS series. The show, which is only viewable in the US, is hosted by professional photographers Chris Greer and Paul Daniel. It follows the duo as they explore breathtaking landscapes across the United States, seeking stellar shots while sharing tips on lighting, composition and storytelling through photography.
What began as a YouTube project focused on Georgia’s natural beauty has evolved into a cross-country adventure. Season three premiered on March 17th and takes viewers to Grand Teton National Park, the Wind River Range and the White Mountain National Forest, among other destinations. View Finders’ mission remains unchanged: celebrate the outdoors, educate the public about these places’ ecological and cultural importance and inspire others to connect with nature through photography.
“The show has grown tremendously,” Greer, who is also a Georgia College & State University professor, told Flagpole. “It’s kind of transformed from a Georgia-based television show to a national television show, and this season reflects that national footprint.”
The road to national syndication began after two successful seasons on Georgia Public Broadcasting. In 2023, Greer pitched the series to 300 PBS (Public Broadcasting Service) stations nationwide and received a warm reception. In Greer’s opinion, what sets View Finders apart is its unique blend of adventure, photography, and conservation, an angle not often explored on traditional travel shows.
The show also addresses the growing urgency around public land preservation. With interviews from park rangers, ecologists and historians, View Finders integrates expert commentary into each episode. Beyond seeing beautiful places, viewers learn why they matter and must be protected, “so they don’t turn into developments and condos.”
The View Finders crew captured footage using lenses like SIGMA’s SPORTS 60-600mm F4.5-6.3 DG DN OS.
Image: Sigma |
Another signature element of the series is its music. The soundtrack features a blend of independent southern artists and nationally known names like Hozier and Bon Iver. This season highlights music from Athens, Georgia-based acts including Grassland String Band, Family and Friends, and Hotel Friction. Greer believes the combination of powerful music and visuals creates an immersive experience and resonates emotionally with the audience.
All third-season footage from Greer, Daniel, and camera operator Nathan Burnett was filmed using Sigma lenses, as the company is the official lens sponsor. You can watch episodes from all seasons, including the current season, on PBS’ official site. The final three episodes for this season will air soon. Greer told us that distribution for the UK, additional European and worldwide markets isn’t finalized at this time, though the show could potentially find international audiences at some point.
Camera
DHL suspends international shipments over $800 to the US

DHL Express, the world’s second-largest delivery company, has temporarily suspended some of its international shipments to the United States, citing a surge in customs processing requirements tied to new US import rules. The change, which went into effect today, impacts business-to-consumer (B2C) shipments with a declared value over $800, as Fox Business reports. For example, consumers ordering camera gear from Sony or drones from DJI could face significant delays.
The suspension follows a policy revision by US Customs and Border Protection, which quietly lowered the threshold for formal customs entry from $2500 to $800 on April 5th. Under the new rules, any shipment entering the US valued above $800 is subject to a more complex customs process, including additional paperwork, duties and inspections. For logistics providers like DHL, this change triggered an immediate spike in formal entries, creating bottlenecks across international networks.
In a statement to customers, DHL said it saw “multi-day transit delays” for packages over the $800 threshold and confirmed that it would no longer collect or ship those parcels if destined for private individuals in the US. The company stressed in its last announcement that “this is a temporary measure, and we will share updates as the situation evolves.” DHL is reportedly scaling up operations to handle the uptick in customs volume, but it hasn’t offered a precise date for when service will normalize.
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Nikon’s Z6III is now subject to processing requirements.
Image: Nikon |
The suspension is explicitly limited to international B2C shipments, packages sent from businesses abroad to individual customers in the US, with a declared value over $800. Lower-value packages, including all shipments under this amount, are not affected and will continue as usual.
Business-to-business (B2B) shipments, packages sent between international companies and US-based businesses, are also exempt from the suspension. However, due to increased workload at customs, they may face processing delays. This can potentially impact new product shipments to retailers, including B&H and big-box stores such as Best Buy.
The policy shift has sent shockwaves through international shipping and e-commerce channels. The effects of US Customs change are being felt beyond DHL. Earlier this month, Hongkong Post suspended its sea mail service in response to what it deems unfair trade tactics by the US. DHL will continue processing shipments from Hong Kong but has warned that customers should expect slower processing times and prepare for more changes, in light of more regulatory adjustments expected on May 2nd.
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DJI’s Air 3, which starts at $1,099 and ships from China, is now subject to additional processing.
Image: DJI |
US officials have not publicly commented on the motive behind the customs threshold adjustment. The move, however, is deemed as a broader effort to tighten control over under-declared shipments, counterfeit products, and illegal drugs such as fentanyl, all of which amount to lost tax revenue. It could also increase pressure to localize inventory.
While DHL works to resolve internal backlogs and scale its infrastructure, affected businesses and consumers will be impacted. We’ve become increasingly reliant on fast global delivery; even a temporary disruption like this has wide-reaching consequences. If you’re ordering any new gear from your favorite electronics brand’s official website, you should be prepared to track updates and plan for continuous delays.
Camera
The Vivo X200 Ultra aims to be more camera than phone

Image: Vivo |
Smartphone maker Vivo has released its latest device, the X200 Ultra. The Vivo X100 Ultra was widely seen as one of the best camera phones from last year, though it was only available in China. Unfortunately, its new device will likely have the same limitation, though it is still worth looking at, as Vivo is marketing it as “a camera that happens to be a phone.” Vivo has been teasing details for some time, but today it has officially hit shelves in China.
Resolution | Sensor | Aperture | Equiv. focal length | |
---|---|---|---|---|
Main camera | 50MP | Type 1/1.28 (9.9 x 7.5mm) | F1.69 | 35mm |
Ultrawide | 50MP | Type 1/1.28 (9.9 x 7.5mm) | F2.0 | 14mm |
Telephoto | 200MP | Type 1/1.4 (9.1 x 6.7mm) | F2.7 | 85mm |
Selfie | 50MP | 1/2.76 (5.2 x 3.9mm) | F2.5 | 24mm |
The X200 features the typical three rear cameras: an ultrawide, a main camera, and a telephoto. Interestingly, the main camera offers a 35mm equiv. focal length, whereas most smartphones use a 24mm equiv. focal length. The 35mm angle of view is more versatile (and natural-looking) than 24mm, which is why it is such a standard focal length for photographers. Though a subtle change, it is nice to see a company rethinking that main camera.
The phone also features a 3.7x periscope telephoto camera that offers the highest resolution of the three, thanks to the Samsung HP9 200MP sensor. Samsung released the sensor last summer and claimed it was the first 200MP sensor for telephoto cameras.
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The Zeiss-branded add-on lens offers a 200mm equiv. focal length.
Image: Vivo |
Where things get unique, though, is with the optional Photographer Kit. Lately, we’ve seen many handgrip add-ons for smartphones to make them more camera-like, either from the phone manufacturer directly or from accessory makers. Vivo has gone the latter route. The Photographer Kit includes the 16GB/1TB phone, a camera grip, a shoulder strap, a case and a 2.35x telephoto converter lens. While we’ve seen a few detachable camera lenses for smartphones lately from the likes of RealMe and Xiaomi, those were concepts and are not currently available for purchase.
Like all of the integrated lenses on the X200 Ultra, the add-on lens was co-engineered with Zeiss. The cute telephoto lens attaches via a custom adapter, sitting over the 200MP telephoto camera. The lens features 13 lens elements with an F2.3 aperture. It offers a 200mm equiv. focal length with 8.7x optical zoom and up to 70x hybrid zoom (a combination of optical and digital zoom), resulting in up to a 1600mm equiv. Vivo claims that images from the optional lens are “highly usable” at 35x.
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Image: Vivo |
The grip looks similar to Xiaomi’s Photography Kit. It features a vintage look and convenient camera controls, including a shutter button, a customizable control dial, zoom controls and a video recording button. It also offers a 2,300mAh battery to extend the phone’s battery life, something that’s especially useful when taking lots of photos or videos with your phone.
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Image: Vivo |
The X200 Ultra also features two custom imaging chips: one for pre-processing tasks and one for post-processing. It’s capable of 4K 60p 10-bit Log video from all three rear cameras, as well as 4K 120p video on all three rear cameras. Plus, even if you don’t opt for the Photographer Kit, there’s a dedicated shutter button on the phone itself that allows you to slide to zoom or adjust exposure, like Apple’s Camera Control feature.
Outside of camera specs, the phone runs on the Origin OS 5 Android skin, which is exclusive to China. It features a 6.8-inch AMOLED display with a resolution of 1260 x 2800 and peak brightness of 4500 nits. The phone’s internals include the Snapdragon 8 Elite chipset and a 6000mAh battery, all of which are wrapped in an IP69 rating.
The X200 Ultra is available in China as of today in silver, red or black. According to Android Authority, the 12GB/256GB model is priced at 6499 yuan (roughly $890) while the top-end model (16GB/1TB) is 7999 yuan ($1096). The Photographer Kit, which comes with the top-end model, will cost 9699 yuan ($1329), though you can also buy it without the phone for a promotional price of 1699 yuan ($233) or full-priced at 2598 yuan ($356).
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