Posts tagged "Adobe Media Encoder"

Smart Rendering in Premiere Pro CS6 (6.0.1, and later), & Premiere Pro CC

Smart rendering in Premiere Pro has been available for DV and DVCPro formats for years, but since Premiere Pro CS6 (6.0.1), many more formats have been added.

In Premiere Pro CS6 (6.0.1, and later), smart rendering capability has been added for Long GOP MPEG2 OP1a exports, where the original material is a matching long GOP MPEG2 OP1a or XDCAM EX file. The intention is that smart rendering creates better quality output by avoiding recompression when possible.

For Premiere Pro CS6 users, update Premiere Pro CS6 to get the full benefit of this feature.

In Premiere Pro CC, additional codecs have been added for smart rendering (scroll down for details).

  • AVC-Intra in MXF (located in Format > MXF OP1a)
  • DNxHD in MXF (located in Format > DNxHD MXF OP1a)
  • DNxHD in QuickTime
  • ProRes in QuickTime
  • Animation in QuickTime

Premiere Pro engineer, Wil Renczes, explains how smart rendering works in Premiere Pro CS6 (6.0.1, and later):

What is it? (probably obvious, but I’ll start at the beginning):
The feature is specifically for accelerating render times for long GOP MPEG2 and essences and certain QuickTime codecs (in Premiere Pro CC), while avoiding recompression.

Which new formats are now accelerated?
Source media that is either XDCAM HD in an MXF wrapper (ie 4:2:0 XDCAM HD @ 18/25/35 mbits/second, or 4:2:2 XDCAM HD @ 50 mbits/sec.), or XDCAM EX (.mp4 wrapper within a BPAV folder structure, 18/35 mbits/second).

Scroll down for formats introduced in Premiere Pro CC.

What do I have to do for it to work?

Nothing for DV or DVCPro formats, smart rendering automatically engages. For XDCAM formats, check the checkbox for smart rendering in the XDCAM exporter plug-in.  If you have these types of clips in your timeline in a sequence with matching settings, are exporting out to MXF OP1a with a matching preset, and the checkbox is checked in the XDCAM exporter plug-in, it’ll engage. It’ll also figure out if there’s any effects applied and fall back to regular rendering if needed.

Can I turn it off?
Uncheck the checkbox in the XDCAM exporter plug-in.

How do I know it’s working?
Excellent question.  Since it’s supposed to work seamlessly, there are no hints in the UI as to what’s going on. As an engineer, we can check out conflicts in a debug console window. If there are any mismatches, then smart rendering won’t occur. Unfortunately for the user, there is no way to test if smart rendering is working other than noting an accelerated workflow, and less generational loss.

What kind of acceleration are we talking about exactly?
Well, the idea is that for untouched clips, recompressing frames is probably going to take longer than simply copying the data directly from the source clip.  Now, it’s not quite as simple as that, as if you have edit points that don’t land on I frame boundaries, then there’s some partial GOP ’healing’ that needs to happen, but we don’t need to get into the nitty gritty here.  Anyway, provided you have good disk i/o, the render numbers are a fair bit better.

Testing indicates that the render numbers are anywhere from 4x to 12x faster than realtime.  On my own benchmarks (off a single drive, SATA 3 mind you, but still), a regular render of XDCAM HD 4:2:2 at 50 mbits is usually 2x realtime.  With smart rendering enabled, the same clip now renders at 6x faster.  Not too shabby.  And, the lower the bitrate, the faster it renders (less data per frame to copy, so it can do more at the same transfer speed).

Okay, I’m trying to smart render an XDCAM EX clip out to OP1A, and why isn’t it smart rendering?
This is probably the trap that most people will fall into when trying it for the first time.  For example, if I pick an EX clip, 35 mbits/sec, shot at 24fps.  Then, I drop it into a matching sequence, pick the XDCAM HD 1080 35 NTSC 24p preset, and hit render.  However, if I check it on the console, I see errors.

Why the heck is that?
XDCAM EX footage is at a full 1920 x 1080 raster size.  XDCAM HD 4:2:0, on the other hand, is actually 1440 x 1080 with a PAR adjustment.  So we can’t smart render this, the frame sizes are different.

Wait a second, didn’t you say that EX is a supported smart render format!? Quit foolin’…
Why yes, it is. It’s just a problem with the preset. We don’t have prebuilt presets for EX material in the OP1a exporter’s list of available presets to choose from,  so if you want to smart render EX material, you’ll need to create a preset with the right settings.  So, going back to my example, if I go to the Video Settings and look under the Video Codec list, and pick XDCAM EX 35 NTSC 1080 (4:2:0), now it’ll smart render.

Well, that’s a little confusing.
Agreed. The feature really was initially meant for XDCAM HD workflows, which you have all the presets available for.  The EX was kind of a bonus request that we threw in based on a specific request from a broadcaster.

What other kinds of errors will potentially bork smart rendering?
Weird ones: mismatches between your source media & the settings you pick to render out to – things that aren’t immediately obvious (but the console window will tell you). For instance, your source file’s MPEG GOP structure doesn’t match the destination, or the source is VBR but you picked a CBR preset, or the bitrate is too different, or there’s a frame size mismatch.  All these conditions will make it fall back to regular rendering.

Will this smart render take advantage of my preview files so that my final render is that much faster?
Sadly, no.  We’d have to enable XDCAM HD as a preview format option, but then yes, this would suddenly work.  Great feature request, feel free to pass it along! (Make a feature request here:

Smart Rendering Formats updated in Premiere Pro CC

In Premiere Pro CC, the following formats are accelerated:

  • AVC-Intra in MXF (Format > MXF OP1a)
    • AVC-Intra Class50
    • AVC-Intra Class100
  • DNxHD in MXF (Format > DNxHD MXF OP1a)
  • DNxHD (QuickTime)
  • ProRes (QuickTime)
    • ProRes Proxy
    • ProRes LT
    • ProRes 422
    • ProRes 422 (HQ)
    • ProRes4444
  • Animation (QuickTime)

Details about smart rendering can be found in this video by

Premiere Pro New Features – Smart Render for ProRes and Preview Files from on Vimeo.

Thanks to Wil Renczes for the content of this post.

Installed codecs in Adobe Media Encoder

The codecs found in Adobe Media Encoder depend on the application or bundle that is installed.

The codecs found in Adobe Media Encoder depend on the application or bundle that is installed.

Adobe Media Encoder is the hub for encoding media from Adobe media applications. There is one point of confusion for our customers, however, and that is that there are varying forms of Adobe Media Encoder, depending on which application or suite you have installed.

The codecs that are found in Adobe Media Encoder depend on which version of Creative Suite or standalone program that is installed. So, while a codec might be installed in one version of Adobe Media Encoder, it might not be found in another. This has a lot to do with licensing fees that are paid to creators of certain codecs. So, how do you find out which codecs are installed in your version of Adobe Media Encoder?

Adobe Media Encoder CS5.5, and later enables the following import and export formats when installed by any Adobe CS5.5, and later application or suite.

Import Formats
Video: AVI, DV, FLV, F4V, Animated GIF (Windows Only), MPEG-1, MPEG-2, MPEG-4, MXF, MXF OP1a (CS5.0.2 and later), QuickTime, WMV, P2/AVC Intra, RED RAW (R3D), Video for Windows (AVI, WAV; on Mac OS, requires QuickTime player), Windows Media (WMV, Windows only)

Still-image: Photoshop (PSD), Bitmap, Cineon/DPX (CIN, DPX), GIF, Icon File (ICO), JPEG, PICT, PNG, Targa, TIFF. Adobe Media Encoder CS5.5 can also import files of any still-image format as a sequence.

Audio: Advanced Audio Coding (AAC, M4A), AIFF, ASND (Soundbooth Format), QuickTime, MP3, AVI, WAV (on Mac OS, requires QuickTime Player), WMA (Windows only), WAV

Export Formats
Video: H.264, FLV, F4V

Audio: MP3

If you have Master Collection, Production Premium, Premiere Pro, or After Effects installed, these additional import and export formats are enabled.

Import Formats
Video: DV100, DV50, MPEG4 part 2, XDCAM HD, JPEG 2000, MJPEG, MPEG2, Uncompressed AVI, VC1

Audio: AMR

Export Formats
Video/Image: MPEG-2, MPEG-2 DVD, MPEG-2 Blu-ray, MPEG-4, P2 (MXF), MXF OP1A (Adobe Media Encoder CS5.0.2), QuickTime movie (MOV; requires QuickTime), Windows Media (WMV; Windows only), Video for Windows (AVI; Windows only)

Still-image: Bitmap (BMP; Windows only), DPX, GIF (Windows only), JPEG, PNG, Targa (TGA), TIFF (TIF)

Audio: AIFF, MP3, Waveform (WAV), Advanced Audio Coding (AAC), AC3 Dolby audio (except After Effects standalone version)

For more information about supported import file formats, see this page in Adobe Media Encoder Help. For more information about supported export file formats, see this page in Adobe Media Encoder Help.

Now when you encode media using Adobe Media Encoder you’ll know exactly the codecs you should expect to see.

Adobe Creative Suite CS5.5 Information: Articles and Tutorials

It’s finally out! Adobe Creative Suite CS5.5 was announced recently, and there is already a good deal of articles and videos that were released in support it. Take a look at each of these links for more info on your favorite Creative Suite Application.

Adobe Blogs
After Effects Region of Interest: After Effects CS5.5: What’s New and Changed
After Effects Region of Interest: Warp Stabilizer in After Effects CS5.5
After Effects Region of Interest: After Effects CS5.5 Integration with Audition CS5.5
After Effects Region of Interest: Source Timecode and other Timecode Features in After Effects CS5.5
After Effects Region of Interest: Improved Trial Version for After Effects CS5.5
After Effects Region of Interest: Stereoscopic 3D in After Effects CS5.5
After Effects Region of Interest: Camera Lens Blur Effect and Camera Depth of Field Properties in After Effects CS5.5
After Effects Region of Interest: Save a Project from After Effects CS5.5 for After Effects
After Effects Region of Interest: Light Falloff in After Effects CS5.5

Premiere Pro Work Area: Premiere Pro CS5.5: What’s New and Changed
Premiere Pro Work Area: Media Encoder CS5.5: What’s New and Changed
Premiere Pro Work Area: Merge Clips and Dual-System Sound in Adobe Premiere Pro CS5.5
Premiere Pro Work Area: Adobe Premiere Pro CS5.5 Integration with Audition CS5.5
Premiere Pro Work Area: Closed Captions in Adobe Premiere Pro CS5.5
Premiere Pro Work Area: Improved Trial Version for Adobe Premiere Pro CS5.5
Premiere Pro Work Area: Unified Audio Effects in Adobe Premiere Pro CS5.5
Premiere Pro Work Area: Adobe Premiere Pro CS5.5 Improvements in CUDA processing and the Mercury Playback Engine
Premiere Pro Work Area: Adobe Premiere Pro CS5.5 Integration with Adobe Story

Adobe TV
Adobe Creative Suite 5.5 Production Premium Feature Tour Overview
Greater Performance Gains with the Mercury Playback Engine in Adobe Premiere Pro CS5.5
A Smoother Editing Workflow with Dual-System Sound Support in Adobe Premiere Pro CS5.5
Control Light Intensity Falloff with the Light Falloff Effect in After Effects CS5.5
Stabilize Shaky Footage with the Warp Stabilizer in After Effects CS5.5
Create Soft-Focus Effects with the Camera Lens Blur Feature in After Effects CS5.5
What’s New in Audition CS5.5
Experience an Integrated Audio-For-Video Workflow
Get Direct Integration with Adobe Story and Adobe Premiere Pro CS5.5
Improved 64-Bit Adobe Media Encoder in Premiere Pro CS5.5
CS Subscription Overview
Camera Lens Blur in AE CS5.5
Dude, Where’s My Task? Soundbooth vs. Audition
Premiere Pro to Audition
Nested Mercury CUDA
Media Encoder 5.5 on the Z800
Adobe Story: An Introduction
Adobe Story: Collaborating with Co-Authors
CS Review: Integration with Adobe Premiere Pro
Production Workflow Using Metadata
Adobe and Gareth Edwards (Warp Stabilizer)
AE CS5.5: New Creative Techniques Introduction
AE CS5.5: Warp Stabilizer Instant Gratification
AE CS5.5: Warp Stabilizer Basic Parameters
AE CS5.5: Warp Stabilizer Advanced Parameters
AE CS5.5: Outsmarting the Warp Stabilizer
AE CS5.5: Enhancements including Light Falloff
AE CS5.5: Camera Depth of Field Parameters
AE CS5.5: Camera Depth of Field Utilities
AE CS5.5: Orbit Camera Rigs
AE CS5.5: Camera Lens Blur Effect
AE CS5.5: The New Stereoscopic 3D Camera Rig
AE CS5.5: Stereo 3D Controls
AE CS5.5: Stereo 3D Glasses Effect
AE CS5.5: 3D Focus and Stereoscopic Convergence
AE CS5.5: The After Effects/Audition Workflow
AE CS5.5: Advanced Audition for After Effects
AE CS5.5: Edit This/Look at That
AE CS5.5: Searching and Sorting
AE CS5.5: Source Timecode
AE CS5.5: Enhanced Caching
AE CS5.5: Expression Enhancements
AE CS5.5: Save Project as After Effects CS5
AE CS5.5: New Creative Techniques Conclusion
Adobe Creative Suite CS5.5 Production Premium
Adobe Creative Suite CS5.5 Features
Adobe Creative Suite CS5.5 System Requirements
Adobe Creative Suite CS5.5 Reviews
Adobe Creative Suite CS5.5 FAQ
Adobe Creative Suite CS5.5 Showcase
Adobe Creative Suite CS5.5 Extensibility (RED + plug-ins)
Adobe Creative Suite CS5.5 Buying Guide + Subscriptions

Pro Video Coalition
After Effects CS5.5 by Trish and Chris Meyer
Updated: Adobe Warp Stabilizer (P)review by Chris Meyer
After Effects CS5.5 In Production by Mark Christiansen
Adobe Premiere Pro Hits 5.5 by Scott Simmons
AE CS5.5: New Creative Techniques Introduction by Rich Young
What’s New in Adobe Audition by Rich Young
Creative Suite 5.5 Production Premium by Rich Young
Camera Lens Blur in CS5.5 by Rich Young
Production Premium CS5.5 Storms Onto the Scene by Adobe

Studio Daily
Adobe Announces Creative Suite CS5.5 by Bryant Frazier

Warp Stabilizer Effect, New in After Effects CS5.5 by Richard Harrington

RED User
Some Details about RED Improvements in CS5.5

Promote Your Articles and Tutorials at Adobe

Do you write books, tutorials or DVDs about Premiere Pro or After Effects? Then you’d probably like to know that there is a simple and powerful way to promote your content. How? Add a comment to Help, that’s how! Comments, which may include links to your work, can be added quickly by content creators directly to Help. For example, if you made a video tutorial about titling in Premiere Pro you could go to the Help page about titling and add a comment with a link to your work. This will appear right at the bottom of the page. It’s easy to do too. This blog post aims to show you how to do just that.

Before I get into the methodology of adding comments to Help, content creators will want to know the advantages of adding comments in the first place.

  • Many more users come to than standard tutorial sites.
  • Your comment is targeted directly to users that need your content.
  • It’s a great way to promote your tutorial books or DVDs.
  • Drives more users to your content giving you more credibility at tutorial sites.
  • Positions you as as one of the “leaders” of the community.

To make a comment with a link, start by going to the Help Pages online.

  1. For Premiere Pro, go to Help online:
    For After Effects, go to Help online:
  2. In the upper left corner of help, check the “This Reference Only” option, type in the search term for the topic you wish to provide a link for, and then press Enter.
  3. After you’ve found the proper page, click “Add Your Comment and Rating” at the top of that Help page.
  4. The Adobe ID page launches.Log in to Help with your Adobe ID. If you do not have an Adobe ID, go here to get one:
  5. Scroll down to the bottom of the page and click the “Add Comment” button.
  6. A comments field will launch. Enter the relevant information in the field. Don’t forget to include the link for your content in the body of the comment—no HTML code is required.
  7. When you are satisfied with the comment, click the “Save” button.
    Your comment will then be posted with a link to your content.

Feel free to do this on your own any time you like. If you need help doing this, you can contact me (kmonahan—AT— and I’ll add it to the Help comments. Help comments can be seen by every user that goes to help for that particular product. The best tutorials get permanently added to Help (folded in from comments) as long as they are high quality.

If you’re offering tutorials and “how to” books or videos for sale, I can also fold in portions of your content (via your publisher) into Help. This is a great way to promote your books and videos to the Adobe community completely free of charge. If you are authoring this kind of content, drop me a line and let me know what you’ve worked on so I can request access to your content from your publisher.

If you would like to do more tutorials but are running short of ideas, I can also help with that too. I have areas of content that do need reinforcing. Content that matches our needs is ideal.

If you know a content creator be sure to tell them, as well.

Which is faster? Adobe Media Encoder vs. Apple Compressor

I’ve already written a blog about switcher Chris Fenwick’s journey into learning about Premiere Pro. This time, he’s done a shoot out between Adobe Media Encoder and Apple Compressor. Guess who wins?

I agree with him in that Compressor has always given me a less than satisfactory user experience but I didn’t know that I’ve been wasting so much time with the app over the years. Chris shows that encoding using Media Encoder is about 50% faster than Compressor.

Have a look at Chris’ screencast and see what you think.