DJI Mavic, Air and Mini Drones
Friendly, Helpful & Knowledgeable Community
Join Us Now

Export from Adobe Premiere

Proffy

Well-Known Member
Joined
Jun 24, 2019
Messages
1,175
Reactions
1,159
Age
43
Location
Web
Hey guys! I'm tired of experimenting.. :( What is your best setting for exporting videos from Adobe Premiere Pro?

I've tried Match Sequence (which was created from capture), H.264, Mpeg, Avi, etc...

It looks **** blurred and noisy. It's perfect in AP and looks like crap in output file. :-/

Example Premier:
1586266410156.png

Example Output:
1586266459972.png
 
Hey guys! I'm tired of experimenting.. :( What is your best setting for exporting videos from Adobe Premiere Pro?

I've tried Match Sequence (which was created from capture), H.264, Mpeg, Avi, etc...

It looks **** blurred and noisy. It's perfect in AP and looks like crap in output file. :-/

Example Premier:
View attachment 98109

Example Output:
View attachment 98110
Its very hard to tell the difference between those two at 100% zoomed out, I could only notice at about 300% and I had to zoom in 800% to illustrate it here.
1586266410156.jpg
This is compression artifacts so your output settings are set to compress the video, too much if you think it really looks that bad, however, my suggestion might be to ask yourself if it is really that bad and if anyone but you will notice.

Let's assume it really is that bad and you really do need a fix. The old school would tell you to “let renderers render and compressors compress” meaning output from PP using an intermediate codec like ProRes on Mac or DNxHD/DNxHR on Windows. Then you can play the output video without compression to make sure it looks like how you want it to look. (Note there’s still compression it’s just far less than with a delivery codec like H.264.) This is a process called mastering.

Then once you are satisfied that the video has rendered out how you want it to look THEN you use Media Encoder to encode it to H.264 and compress it how you need it.

The new school would tell you all that isn't necessary and you are trying to make this harder than it is. They'd tell you to just use "H.264 best quality" as it is the golden standard of H.264 delivery output. For 4k that is 1 pass, variable bit rate, 80 Mbps target. This should be more than is really necessary. Sometimes it is best to just keep it simple ya know?

I think Media Encoder honestly gives most people way too many options. It doesn't need to be all that difficult to choose a codec. The only reason you would use all those other settings is if you have a really specific codec you have to use per a client specification or for broadcast or something.
 
  • Like
Reactions: Proffy
In my opinion, the answer always lies in what it is you're encoding for. For example, if you;'re going to be displaying your work on YouTube, use AME's YouTube HD preset. If you're going to showing it to people on your wall-sized TV at home, keep the compression minimal and use Apple ProRes 422 HD or some flavor of low-compression codec your playback system can handle. For general distribution, I get the best results from the YouTube HD.

Also, I never use single-pass. I've heard it's actually fairly useless. Two-pass provides a much more accurate motion analysis. The analysis happens on the first pass and the encoding takes place on the second. You get smaller files with fewer visible compression artifacts. Unless you have a producer or news director who needs the sequence to go on air in five minutes, it's well worth the extra time.

For projects where quality really counts, I shoot in 4K and use a low-res proxy workflow in Premiere. Though it's not ideal when it comes to color grading, I find that what looks best in the proxy actually looks fantastic when the sequence is encoded from the 4K files.

Ric
 
  • Like
Reactions: Proffy
Its very hard to tell the difference between those two at 100% zoomed out, I could only notice at about 300% and I had to zoom in 800% to illustrate it here.
View attachment 98125
This is compression artifacts so your output settings are set to compress the video, too much if you think it really looks that bad, however, my suggestion might be to ask yourself if it is really that bad and if anyone but you will notice.

Let's assume it really is that bad and you really do need a fix. The old school would tell you to “let renderers render and compressors compress” meaning output from PP using an intermediate codec like ProRes on Mac or DNxHD/DNxHR on Windows. Then you can play the output video without compression to make sure it looks like how you want it to look. (Note there’s still compression it’s just far less than with a delivery codec like H.264.) This is a process called mastering.

Then once you are satisfied that the video has rendered out how you want it to look THEN you use Media Encoder to encode it to H.264 and compress it how you need it.

The new school would tell you all that isn't necessary and you are trying to make this harder than it is. They'd tell you to just use "H.264 best quality" as it is the golden standard of H.264 delivery output. For 4k that is 1 pass, variable bit rate, 80 Mbps target. This should be more than is really necessary. Sometimes it is best to just keep it simple ya know?

I think Media Encoder honestly gives most people way too many options. It doesn't need to be all that difficult to choose a codec. The only reason you would use all those other settings is if you have a really specific codec you have to use per a client specification or for broadcast or something.
Thanks for describing!
 
In my opinion, the answer always lies in what it is you're encoding for. For example, if you;'re going to be displaying your work on YouTube, use AME's YouTube HD preset. If you're going to showing it to people on your wall-sized TV at home, keep the compression minimal and use Apple ProRes 422 HD or some flavor of low-compression codec your playback system can handle. For general distribution, I get the best results from the YouTube HD.

Also, I never use single-pass. I've heard it's actually fairly useless. Two-pass provides a much more accurate motion analysis. The analysis happens on the first pass and the encoding takes place on the second. You get smaller files with fewer visible compression artifacts. Unless you have a producer or news director who needs the sequence to go on air in five minutes, it's well worth the extra time.

For projects where quality really counts, I shoot in 4K and use a low-res proxy workflow in Premiere. Though it's not ideal when it comes to color grading, I find that what looks best in the proxy actually looks fantastic when the sequence is encoded from the 4K files.

Ric
Thanks for advice!
 
Found the solution! After exporting thousand and one time, discovered H.265 exports it in a terrific way! ?
 
  • Like
Reactions: DougMcC
Found the solution! After exporting thousand and one time, discovered H.265 exports it in a terrific way! ?
That's great! I haven't tried that one yet, I'll have to experiment. Have you ever tried Vimeo as a comparison to YouTube? I saw a YT video where the guy exported out his video using custom settings in AME. He thoroughly explained the various options and why he selected certain values for that setting. The custom settings can be saved for future use which makes rendering out your next video a snap. I've got several setups in AME, one for YT and the other for Vimeo. In my opinion, Ric's tip about shooting in 4k, using proxies, and exporting out for specific situations is spot on.
 
  • Like
Reactions: Proffy
Hey guys! I'm tired of experimenting.. :( What is your best setting for exporting videos from Adobe Premiere Pro?

I've tried Match Sequence (which was created from capture), H.264, Mpeg, Avi, etc...

It looks **** blurred and noisy. It's perfect in AP and looks like crap in output file. :-/

Example Premier:
View attachment 98109

Example Output:
View attachment 98110
 
Here are my Adobe Premiere Pro 2020 setting for output
File>Export>Media>H.264>High Quality 2160>check render at maximum depth bitrate setting>VBR Pass 2>check box maximum render quality>Name clip>Export to where you have named clip (fill in the output box)

This has been working for me.
 
  • Like
Reactions: Proffy and Thomas B
That's great! I haven't tried that one yet, I'll have to experiment. Have you ever tried Vimeo as a comparison to YouTube? I saw a YT video where the guy exported out his video using custom settings in AME. He thoroughly explained the various options and why he selected certain values for that setting. The custom settings can be saved for future use which makes rendering out your next video a snap. I've got several setups in AME, one for YT and the other for Vimeo. In my opinion, Ric's tip about shooting in 4k, using proxies, and exporting out for specific situations is spot on.

Naaaah, Vimeo looks not so popular as YouTube. But this could be interesting experience! Need to try. But currently H.265 really rocks! Check it out after uploading to YouTube -
 
  • Like
Reactions: Twocalf
Here are my Adobe Premiere Pro 2020 setting for output
File>Export>Media>H.264>High Quality 2160>check render at maximum depth bitrate setting>VBR Pass 2>check box maximum render quality>Name clip>Export to where you have named clip (fill in the output box)

This has been working for me.

Thanks! I will try those "Pass 2" option in render. Never tried it before, but looks like a cool setting!
 
Lycus Tech Mavic Air 3 Case

DJI Drone Deals

New Threads

Forum statistics

Threads
130,411
Messages
1,552,347
Members
159,418
Latest member
jamoke