Your hardware constrains the choice more than your budget
Final Cut Pro is dramatically faster on Apple silicon than anything else and does not exist on Windows. Resolve rewards a good GPU and struggles without one. Premiere is the most forgiving across mixed hardware, which is part of why agencies choose it. Establish what you are editing on before you shortlist, because the wrong pairing produces a slow, miserable experience regardless of features.
One-off purchases change the lifetime maths completely
Final Cut is a single payment; Resolve Studio is a single payment; Premiere is a subscription forever. Over five years that is roughly £300 against roughly £1,200. Subscriptions buy continuous updates and, for Premiere, an ecosystem the industry runs on — but if you edit occasionally, buying once is dramatically cheaper and nobody will take the software away.
Collaboration is the real reason teams pay for Premiere
For a solo editor, Resolve does more for nothing. What Premiere sells is everyone else: shared projects, an assistant who knows it, a freelancer who can open your file tomorrow, and round-tripping with After Effects. Hiring and handover are worth real money on a team and worth nothing alone.
Match the tool to the format, not to its prestige
A 45-second vertical clip does not need a colour-grading suite, and cutting one in a professional NLE is slower than doing it in CapCut. Equally, a broadcast documentary does not belong in a social editor. Several of our reviewers run a professional editor and CapCut side by side quite deliberately, and that is a sensible answer rather than an admission of defeat.