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One of the great strengths of the Adobe Creative Suite Production Premium 6 is the seamless integration between the various applications. Even so, the best-practice approach to sharing media and creative work between applications remains mysterious to many users. In this course filmmaker and author Maxim Jago breaks everything down into simple, clear steps, offering guidance on project and file management and examples that demonstrate the best use of the technology. If you use Adobe Creative Suite CS6 for video post-production, this course can make your work faster, easier, and more efficient.
As with so many workflows in Premiere Pro, there's quite a few ways of sending your work through to the Adobe Media Encoder. The obvious simple one is that you go to the File menu. You choose Export and Media. And if you choose this option, you're going to get all the standard controls for the format and the file type, the Codec, and so on. This isn't a lesson about compression settings. But there are a couple of options here that if you're not too familiar with them that they're worth just spending a moment on. First of all, if I cancel out of this and go to my Sequence Settings in Premiere Pro.
You'll notice that down towards the bottom, I've got this maximum bit depth and maximum render quality set of options. Now, maximum render quality actually just means that Premiere Pro will use a better quality scalar. And this is particularly important if you're reducing the scale of something. You can get some edging affects, some quantization of the image. And if you tick this box, Premiere Pro will use more of After Effects style, intelligent vector-based scalar. So, more rendering time but much better quality of your reducing the size of your image. The important one here though, for me, is this maximum bit-depth.
Let me go to my effects list here. Any effects that you've applied that have this 32-bit symbol next to them will be processed in 32-bit floating point color. So, it's really maximizing the quality of the render. It's not that big a hit on the render time. Now, one thing you might want to consider is rendering before you export your sequence. Not for playback, but because when you export now, in fact just go back to this dialog box. Let me make my sequence active.
You've got this option to use previews. So, if you've already rendered, and you can render at a very high quality in Premiere Pro, you can have 10-bit render files if you like. Then when you export the file, Premiere Pro just needs to trans code rather than rendering again any visual effects and audio effects that you've applied. It can make an enormous difference, a really massive difference, to how long it takes for you to export your media. And bearing in mind that you're going to have to render anyway. At some point, it's going to either render during output or it's going to render on the timeline. You might as well render on the timeline, and then your export can be much faster. I suppose you've got the benefit of having those renders available to you for editing so the whole system's going to be that much snappier. So, that's one tick box.
If I go back here, just notice that there is a keyboard shortcut, Ctrl+M or Cmd+M on a Mac. And just here, I've got my Maximum Render Quality option, you can see there better quality scaling but increases the encoding time. This is not for scaling clips that you've got in your sequence, which is what the other tick box is for in the Sequence Settings. Instead, this is for converting your sequence resolution to your output resolution. So, let's say you're working on an HD sequence, but you're exporting it Standard Def, tick this box and you'll have a better quality reduction in the image size. Next up, we've got this use frame blending option which again, we can probably see from the tool tip.
Smoother motion by blending adjacent frames when the input frame rate doesn't match the output frame rate. Essentially, this is going to give you a better quality frame rate adjustment. Again, if your sequence frame rate differs from the frame rate of the output media. So, a really good idea to take this box, you should see a quite a noticeable difference if you adjusting your frame rate, particularly if it's a dramatic change. Then we have this Metadata option, which allows you to specify what metadata, if any, is going to be included with your media.
Now, I have gotten into the habit of setting this to None, just because I absolutely, positively just want to give the media. But if using meta data is part of your workflow for delivery, you're probably going to have a schema that you're going to choose. And you'll preserve specific parts of the metadata associated with your media. If you, for example, have Speech to Text data in your clips when you export the metadata with the video file you are creating. Bring that into After Effects and you'll see those speech to text cue points up here automatically. It's a pretty handy feature.
And then, we have these two options. You can either Export, which will make the primary goal of your system to encode that media so everything gets thrown at the process. Or Queue, which will fire up the Adobe Media Encoder. The thing about Queue is that it allows you to continue working, because it's the Media Encoder doing the encoding, and it leaves Premiere Pro free. In fact, what happens is another copy of Premiere Pro is loaded up in the background without an interface. Without a skin and it is serving up a copy of your sequence, or at least. Actually, it's a copy of our project and handing that over to the Media Encoder for conversion. And this is useful because it's not actually the project file you're working on, it's a completely separate copy.
So, you can carry on making changes. Let's say you've had a request for a work in progress copy of the edit, you can just queue it up and send it off while you carry on editing. And Premiere Pro and the Media Encoder will work out between them the resource balancing, the load balancing on your system. So you can carry on editing while having the encoding take place. There are another couple of ways of bringing clips and sequences into the Media Encoder. We've got the Media Encoder running here. One option is go to the File menu and choose Add Premiere Pro Sequence.
And if you choose this, you can browse to your project. Let's have a look here. Media Encoder, there it is. Notice this delay. That little delay there was the Dynamic Link Engine firing up and accessing this project. And there is the project. This project only has one sequence in it. And so if I click OK, that's going to be imported and I'm going to get the most recent settings that I chose. You see I've got this match source settings listed. In fact, if I go back to Premiere Pro and just pull it out of the way a little bit, go to my Project panel.
I can just Drag and Drop a sequence straight out of Premiere Pro onto the list in the Queue panel in the Media Encoder, has a very similar effect. And coincidentally, if I just toggle back to Premiere Pro, you don't just have to export sequences. That's probably the most common thing you're going to do. But if I have a clip open in the Source panel, and go to the File menu > Export Media, there it is ready for me to export and convert if I want to. Or, I can I select an item in the bin. Let's take, I believe there's a different shot here.
Scenic One, Export Media. And now I'm exporting that clip. You can't batch export this way, unfortunately. I can select a whole list of items with the Shift key here. For example, if I go to the Export option, it's just not there. So, batch encoding in this way is not possible. But nonetheless, it is a pretty quick way of sending out multiple clips to be converted into another format. I suppose if you just want it to convert a batch of files, if I toggle back to the Media Encoder, I can Double-click in the Queue panel. And I can select some clips, click Open, and there they are. So, that's a few ways of getting media from Premiere Pro into the Adobe Media Encoder.
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