Hi everybody, this is Zach from UCF Film. Today we have another installment of our ongoing
series about Adobe CS6. This video has to do with using Adobe Media Encoder to export
different file formats from sequences or from video clips. Right now I'm in Premiere Pro
and there's two real ways to use Adobe Media Encoder. You can either drag a clip into Media
Encoder or you can export a sequence. I'm going to show you the first way of using Media Encoder
that is exporting a sequence out of Premiere Pro. Here's our sequence. It's an instructional
video on the X-A10 camera we did. So what I'm going to do is go to File, Export, Media and that's
going to open up some export settings. Now in the export settings we have our source and our output.
The output is what the file is going to export as. We also have some source scaling. We're going to
scale that to fit the frame. And down here we have the timecode as you can see and that
lines up with the timecode on the sequence. And if you remember from the interface video on Adobe,
this is known as the work area bar. They give you a little one here so you can export certain
sections of the video if need be. But we want to export the entire sequence. There we go.
Now over here on the right we have the export settings. Now you can simply just export your
sequence and match the sequence settings but you got to make sure your sequence is set up
perfectly from the start. What we're going to do is we're going to export a ProRes using Adobe
Media Encoder. So ProRes format is QuickTime but we are given a lot of choices. We're going to
choose QuickTime. And the preset, we have all these Apple ProRes presets. We're going to choose
Apple ProRes 422 HD. I'm choosing HD 1080p, 23.976 frames per second because if you look down
here in the summary, our source, the sequence, is a 1080p 23.976 frames per second sequence. You
can always choose another if you want to change the frame rate or the frame size but we'll get
into that in a second. Output name. If you click on that you can rename the output as well as save
it to a specific location such as a folder. Let's call that folder output. Create that folder and
we'll just call that Instructional ProRes. Alright and that changes that. Here are two checkboxes.
You can export only the video. You can export only the audio or do them both together. We're
going to do them both. And if we go down here to the export setting tabs, we have a number of
options to go through. Filters. I never use this because it applies a filter to your entire sequence
and I don't really like to do that if I can't see it. So I'm going to bypass that. Moving to the
video tab, we have several options. Video Kodak, Apple ProRes 422. As you see with the preset,
we have a lot of this already filled in but we can still make some changes to it.
The video Kodak, Apple ProRes 422, that's what we want. It gives us options for Kodak settings
and you'll see it has a gamma correction set to automatic. I'm going to set that to none.
You'll notice that in the export if it's on. It won't look exactly like the sequence in Premiere.
If we scroll down, basic video settings, quality at 100% and frame size 1920 by 1080,
that's exactly what we want. 23.976 frames per second. Square pixels. This is all part of the
ProRes preset. But if you get down here to render at maximum depth, that's an option right there.
What is render at maximum depth? Well, render at maximum depth increases the color depth that
your video is working with and rendering to. If you're simply working with video that has very
low color depth, like DSLR footage, that's in an 8-bit color space, you won't really need to
have that checked because it won't really matter and it'll just increase your processing time.
However, if you're working with a lot of graphics, some high contrast values, or color gradients,
you probably want to enable this option because you can introduce banding into it if you're changing
the color space. And then you have two options for depth, 24-bit, 48-bit. The more you increase
your bit depth, the more colors you'll have to work with. Render at maximum depth is not to be
confused with maximum render quality. What maximum render quality does is it aids in the scaling
and conversion process only. You don't need to enable maximum render quality unless you're exporting
in a format or a pixel ratio that's different from your original video. For example, if you're
rendering a 1080p timeline out to a 480p file format, you're going to want to use maximum render
quality to ensure the best scaling with the least amount of artifacts and aliasing. If you're
exporting at the same size and codec that you've been working with, don't bother checking this.
It'll just cost you time and processing power and its only function is to do high quality resizing
of your work. If we go over to the audio tab, we have some more options. I'm going to keep that
uncompressed. You can change the sample rate and the bit depth of your audio. A few more things.
Use previews. I'm going to check that because that means it's going to use the renders we've
already been using in the sequence while we were editing and it's going to speed up the encoding
time. Otherwise, if that's unchecked, it's going to re-render everything brand new. So I'm going to
have that checked. Use frame blending. Use this if you're going to convert to a different frame rate
as it's going to blend the frames together instead of dropping them. Now that we have all our settings
good, we have two options. We can just export it immediately with its current settings.
That's one way to do it. But what I like to do is queue the export for several reasons. One,
when you press Q, it prepares the data for export and opens up Adobe Media Encoder. And what that
does is it frees you up to continue working in Premiere Pro while that renders. The other reason
is because Media Encoder gives you the option to export several different file formats at the same
time. So I'll show you how to do that. But let me introduce you to Adobe Media Encoder. We have
four main boxes, the queue, the preset browser, the watch folders. I'm going to get into that
in a little while, and the encoding window. If we look in our queue, it's exported all the data
for the sequence and all our customized settings for the export. Now if you don't want to go from
Premiere to Media Encoder, if you want to just bring a video into Media Encoder,
you just would add us a new source and pick a video and just transcode directly from
Adobe Media Encoder. Cancel that. But the other thing we can do is click on the sequence source
that we just exported to Adobe Media Encoder. And we can add outputs, which means we can
add a completely different file format to export from this source. So since we're exporting a ProRes
version, why don't we also make a version for online playback and a version for classroom
playback at UCF Film. All right, we'll just add an output and it gives us the same options. If we
want to go on Vimeo or YouTube, we have to export to an h.264. And if you go to the presets,
it already has at the very bottom presets for Vimeo and YouTube. So I'm going to click one of
those. I'm just going to use the Vimeo preset because these are presets Adobe's made that
correspond with the guidelines Vimeo has for uploading. You might as well use this preset
because Vimeo is going to reencode your file anyway, but with much less scrutiny. So if we
click on it, we can just change a few things. All that seems great. I'm going to render at
maximum depth and use maximum render quality because we're downgrading the sequence so much to a
five megabit per second playback that I want to try to retain as much quality as possible.
So I'm going to click both those. And since we're exporting from the sequence, we'll use the previews
to pass Vimeo only goes up to five megabits per second. All right, it's made that there. It's
made another output. Let's do one more for classroom playback. Our Blu-ray players play
H.264. And I'm going to go down to HD 1080p 23.976 frames per second. If you click on that, we can
change a few of the settings. This is all fine. Problem is our Blu-ray players won't play anything
back higher than 30 megabits per second. So I'm just going to change the maximum bit rate to 30
megabits per second. And I always like to do a two pass. A two pass goes through the video again
and really refines the quality of the in code. And since we're not downgrading the quality that
much, it's still a Blu-ray quality of this HD version. You don't have to worry about maximum
render quality or rendering at maximum depth because that's just going to slow everything down.
You can always do it. That's up to you. Okay, now these are presets that Adobe makes. So what about
a preset that we make? Why don't we go over to the preset browser and create a new preset? Let's
say you really like the settings on the ProRes digital master file that we just made. And you
want to make that a preset because you're going to be using it over and over again. What we'll do
is make a brand new preset and call it digital master file. Then we'll just find a established
preset to base it off of Apple ProRes and then affect the settings just like we did for the
ProRes. All right, sounds good. And digital master file. There it's a user preset we just created.
And we can even add under quick time digital master file. And there that's a preset we just
created. And that'll be saved forever on your computer. Or if you don't like it, you can always
just delete it. So now that we have all these outputs, you can click on them and rename them.
This is our classroom one. Save. All right. And what we're going to do is go up here to
start queue. And as you'll see, it's reading the XMP information from the sequence, getting all
the cuts and information about them in order. And it's going to output all three formats at the
same time. Let me just put a stop to that real quick. Last thing I want to show you in Adobe
Media Encoder is something very special. And it's called the watch folder. Now the watch folder
is a digital asset manager's dream. What you can do is add a folder. Let's say we want to even create
a new folder. We'll call it footage dump. All right, choose. With these, you can encode an entire
folder worth of files into one or more formats. Let's say we want to do a pro res. Let's say we
want to do a pro res, a Vimeo and a classroom playback. What's wonderful is, and we can even
assign these different outputs. So we can just make a new folder. And that's just where all the pro
res will go. And that's where all the Vimeo files will go. And that's where all the classroom
playbacks will go. Any file we now put in that folder will export all those formats into all
those outputs. Any new video file we've put in that folder will export to those separate folders.
As you can see. And that's it. That's using Adobe Media Encoder in Adobe CS6. This has been Zach
from the Equipment Room. Have a great day.
