What Premiere Pro 2022 Essential Training Actually Covers
Adobe Premiere Pro 2022 is the current standard for broadcast and independent post-production, and the Essential Training course from LinkedIn Learning, led by Jason Osipov, remains one of the more complete free-entry paths into it. It runs about ten hours of video split into bite-sized lessons that move from interface navigation through export. The course skips the hand-holding on creative theory and focuses on the mechanical workflow, which is what most people actually need when they open the program cold. I worked through this material while rebuilding my own workflow after switching from DaVinci Resolve to Premiere Pro on a client project. The transition wasn't seamless. The course itself is fine for fundamentals, but there are gaps you run into quickly if you try to build a real editing schedule with it as your only reference. I'll get into that in a moment.
Premiere Pro 2022 Essential Training: What to Expect
The curriculum covers the core panels: Project, Source, Timeline, Program Monitor, Effects Control, and Lumetri Color. It walks you through import workflows, proxy creation, basic trim tools, keyframe animation, audio mixing through Essential Sound, and the full range of export settings via Media Encoder. If you are coming from nothing, this is enough to get you competent in about a week of steady viewing and practice. One thing the course doesn't emphasize enough is the difference between source monitoring and timeline monitoring. New editors often toggle between the two without understanding why their audio levels look different in each panel. I spent three hours troubleshooting a clip that sounded perfect in the Source monitor but was clipping badly in the timeline because I hadn't noticed the track gain was set to +6 dB. The fix was simply resetting the track gain and applying the correction at the clip level instead. The course touches on gain structure but assumes you already know what that looks like in a DAW context.
How to Use This Training Effectively
Don't just watch the videos passively. Pause after each section and reproduce the exercise with your own footage. The Proxy workflow section is one of the most useful parts of the course, especially if you edit 4K or higher resolutions on modest hardware. Creating proxies converts your source material into lightweight files that Premiere can handle smoothly during editing, then switches back to the original high-resolution media for export. The process takes roughly fifteen minutes for a two-hour project, depending on your machine. I use a MacBook Pro M1 with 16 GB of RAM, and the proxy render time was about twenty-two minutes. A faster machine with more cores can cut that down to under ten minutes. The Lumetri Color section is adequate but not comprehensive. If you need advanced grading beyond basic corrections, you will outgrow it quickly. The course gets you to a competent baseline, then stops. That is acceptable if your goal is corporate video or documentary work, but it won't prepare you for color-critical commercial projects.
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A Real Problem I Hit and the Workaround
During the multi-cam editing portion of the training, I ran into an issue where synced audio from external recorders wouldn't lock properly. Premiere's auto-sync feature relies on waveform matching, and when your audio has significant noise floor or background hum from a field recorder, the sync point lands wrong. I spent about forty minutes trying to force it to work before realizing the problem was the noise, not the tool. The workaround was straightforward. I pulled the audio stems into Audition, used the manual de-noise process to reduce the ambient noise on each track, saved them back as separate WAV files, and re-imported them into Premiere. Auto-sync worked on the cleaned files immediately. This is the kind of thing the course never mentions because it is an edge case that depends on your specific recording environment. In a studio setting with clean audio, you would never encounter it.
Counter-Intuitive Things That Will Save You Time
The sequence preset matters more than you think. Most editors default to the HD 1080p 29.97 setting because it is common. But if you are working with footage from multiple cameras shot at different frame rates, Premiere will drop frames on export unless you create a custom sequence that matches the source frame rate exactly. I learned this the hard way when a client's wedding video came out with visible judder during outdoor shots. The footage was 25 fps, the sequence was 29.97, and the speed change was negligible but noticeable in motion. Creating a custom sequence at 25 fps and re-importing the clips fixed it in about five minutes. Another thing that isn't obvious: the Render At Maximum Depth option in your export settings. Turning it on for 10-bit color space footage can increase export times by roughly thirty to fifty percent, but it prevents banding in gradients. If you are doing any sky or shadow work, leave it on. If you are cutting tight talking-head segments, turn it off and save yourself the wait.
Where the Training Falls Short
The biggest gap is keyboard shortcut customization. The course teaches the defaults, which are reasonable, but they are not optimized for anyone who has used Final Cut or Avid before. Learning the default shortcuts will take you about two weeks to feel natural. Going into the Keyboard Shortcuts panel and remapping them to something closer to what you already know cuts that adjustment period down to about three days. The course doesn't address this at all. The Essential Training also doesn't cover Dynamic Link with After Effects beyond a surface explanation. If you plan to do motion graphics work that requires constant iteration between the two programs, you need to understand how Dynamic Link handles proxy generation and render caching. Without that knowledge, your project will slow to a crawl after the third or fourth revision. I found a workaround by using pre-rendered MOV files with alpha channels instead of relying on Dynamic Link for complex compositions. It added a step but eliminated the lag entirely.
Who Should Take This Course
This is suitable for someone with zero Premiere Pro experience who needs to produce editable timelines within two weeks. It is also useful for editors coming from other NLEs who want a structured refresher on what changed in the 2022 version. It is not suitable if you need advanced color grading techniques, advanced audio post-production beyond the Essentials panel, or deep understanding of multicam workflows with more than four angles. For those, you should supplement this with dedicated courses on Lumetri advanced grading and Audition for sound design. If you are looking for the official course, it is hosted on LinkedIn Learning under the title Premiere Pro 2022 Essential Training by Jason Osipov. There is no standalone download for the course content itself since it is a streaming product tied to a subscription, but you can access it directly from the LinkedIn Learning platform.
