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ProRes Workflow in Premiere: Advanced Options

I’ve already seen some great questions out there regarding my last tutorial. There are a couple of advanced options that I skipped over in order to get the basics out there for everyone.

Question: What about using an AJA or BMD card with these ProRes Presets? I thought I had to use manufacturer-specific presets to get a reference video output.

Answer: Not so! To make a preset that take advantage of your monitoring hardware, you need to click on the Playback Settings button in the Sequence Settings panel:

Inside the Playback settings, you can choose your display device under Realtime Playback here:

(I’d love to show you a screen grab of this, but since my desktop computer is in a cargo container halfway across the Pacific Ocean, you’ll have to trust me.)

This setting is saved as part of the timeline preset, and can also be turned on later by selecting a sequence, going to Sequence – Sequence Settings, and clicking the Playback Settings button found there.


Question: I’ve heard that Premiere Pro only uses 8-bpc color. How does this affect my 10-bit ProRes files?

Answer: Premiere Pro can actually work in 32-bpc floating point color, which would be the preferred mode for anyone working with 10-bit source media. In order to use this higher color bit depth when rendering preview files, you need to turn it on here in the Sequence Settings:


This setting can also be changed on any existing timeline sequence by selecting the sequence, and going to Sequence – Sequence Settings.

If you are doing precise color work, you also may want to limit yourself to the effects that have the “32” icon next to them. These are the effects that are full 32-bpc, floating-point color effects.


Question: Okay, now that you’ve explained what Maximum Bit Depth does, what about Maximum Render Quality?

Answer: That affects how sharply Premiere Pro scales clips. For example, if you work with 1080p media, but put it into a 720p timeline, and resize/reframe, then you are scaling the clips in size, and would definitely see better quality with this turned on. The only downside is that it increases the render time. It’s also a setting that you can turn off and on later.




    Hiya Karl,

    I’m sorry if this is the wrong place to ask such a question but I have been struggling with this since I just made the leap from FCP to CS5.5.

    I have searched Adobe TV for a good optimal set up for my mac. I see for HP workstations but not for mac. I have a late 08 model and spent through the nose for it. Here are the specs:

    Hardware Overview:

    Model Name: Mac Pro
    Model Identifier: MacPro3,1
    Processor Name: Quad-Core Intel Xeon
    Processor Speed: 3.2 GHz
    Number Of Processors: 2
    Total Number Of Cores: 8
    L2 Cache (per processor): 12 MB
    Memory: 12 GB
    Bus Speed: 1.6 GHz
    Boot ROM Version: MP31.006C.B05
    SMC Version (system): 1.25f4

    And my graphic cards: (2)

    NVIDIA GeForce GT 120:

    Chipset Model: NVIDIA GeForce GT 120
    Type: GPU
    Bus: PCIe
    Slot: Slot-2
    PCIe Lane Width: x16
    VRAM (Total): 512 MB
    Vendor: NVIDIA (0x10de)
    Device ID: 0x0640
    Revision ID: 0x00a1
    ROM Revision: 3386
    Cinema HD:
    Resolution: 2560 x 1600
    Pixel Depth: 32-Bit Color (ARGB8888)
    Display Serial Number: CY8080A2XMP
    Main Display: Yes
    Mirror: Off
    Online: Yes
    Rotation: Supported
    Display Connector:
    Status: No Display Connected

    I just want my machine to be as strong and reliable as possible. I’m also not sure what the best fastest storage solution is for all of our footage during and after editing. We are DSLR shooters.

    I have to say the one of the main reason why I jumped over from FCP is that your videos exist! Well, that and FCPX…

    Thanks for your time 🙂


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