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- #WHAT VIDEO CODEC TO USE PREMIERE HOW TO#
- #WHAT VIDEO CODEC TO USE PREMIERE INSTALL#
- #WHAT VIDEO CODEC TO USE PREMIERE PRO#
- #WHAT VIDEO CODEC TO USE PREMIERE OFFLINE#
#WHAT VIDEO CODEC TO USE PREMIERE HOW TO#
I have since worked it out and will be putting together a short tutorial on how to do it for next week so be sure to check back in for that.In the sea of confusing file formats out there, a lot of users find themselves lost many times choosing to output their videos as files they don’t completely understand. In the end I had to bail and turn to an old standby, Compressor. I was short on time and in the mad rush was not able to figure it out. The first time I tried it wasn’t so easy, however. If any of the scenarios above apply to you and you need to transcode to an intermediate codec, you can easily transcode with Adobe Media Encoder. Transcoding Your Footage With Adobe Media Composer In fact, you may find your results are less satisfactory than if you stayed native. So if you are going to color grade in Premiere Pro, you won’t get any more latitude by transcoding to Prores or another intermediate codec.
#WHAT VIDEO CODEC TO USE PREMIERE PRO#
While that may be true in other applications that support native formats, Premiere Pro automatically up-samples your media to 4-4-4 on the fly (which may explain the reason behind potential chugging timelines mentioned above). If you plan to finish your projects in Premiere Pro, you may be put off by the fact that some native formats can’t work in greater than 8-bit depth. Color Grading With Native Files In Premiere Pro
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But as I said, this has not been the case for me so far and in my opinion native editing has been nothing short of a godsend. Transcoding to an intermediate codec like Prores does make thing easier on your CPU and can make for a better user experience. Having said that, I have not worked with all listed native formats and my machine is fairly fast. I personally have not had any issues with Premiere Pro's performance when working natively. There is also the issue of performance: I have heard complaints of chugging timelines when working with some native formats. Premiere Pro is able to efficiently export projects for Final Cut Pro (with XML), but since Final Cut wouldn’t work with the native footage, I had to transcode everything to Prores 422 before I started editing. They were going to take over and do all the graphics and color grading themselves.
#WHAT VIDEO CODEC TO USE PREMIERE OFFLINE#
Although it was a corporate job and not for broadcast, I was essentially doing the offline edit. But despite the time-savings of native editing, there are some workflows where it just isn’t practical.įor example, I recently completed a project in Premiere Pro for a particular production company that is still sitting on the fence and using Final Cut Pro Legacy. These include projects that are done end-to-end by me in-house and on-site jobs like live events where time is of the essence. Native editing workflows are perfect for about 80% of the projects I work on. When is Editing Natively Not Such a Good Idea? Indeed, perhaps “linking” is a better term than “importing” to describe the video acquisition process in Premiere Pro. There is no waiting for re-wrapping or transcoding because you are literally “linking” straight to the source files that you offloaded from the camera.
#WHAT VIDEO CODEC TO USE PREMIERE INSTALL#
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