It could be a straight copy, a mezzanine media file using a post-production friendly codec , or a proxy file. In between, you many also work with a mezzanine codec, proxies, or pre-rendered Previews. Click on the terms below for more details. If you could only edit native formats, you probably would. Your workflow is simple: import your footage review the shots, build your sequence, edit until satisfied, and export the results. Even if you are able to work with native formats most of the time, understanding your options means you can stay efficient with almost any content.
Transcoding refers to the process of creating a copy of your file, generally for better playback. Transcodes are the same frame rates and frame sizes but use a format which plays back better on your system. For example, mobile phone footage H or HEVC can be quite processor intensive so you may elect to transcode to a codec, such as ProRes or DNx, for shorter projects, it may not be worth the time to transcode.
Proxies are lightweight copies of your source files. A proxy copy of that footage might only be a few MB. Premiere Pro allows you to create proxies during ingest, which means you can start editing right away using the source media while Premiere generates the proxies in the background.
Once the proxies are complete, Premiere automatically replaces the source files with the proxies. Rendering is when you combine Effects with your footage during editing. You do this to maintain real-time playback if your system starts slowing down.
If a section of your Timeline has a red line above it instead of yellow , it means that Premiere Pro is using the CPU to process that section or clip. You can also choose Render In to Out to render everything in the section not just the Effects. For more information, see Best Practices: Export faster. Encoding is about compression for your final output. You may start a project with hundreds of Gigabytes of footage.
Encoding takes all the media on your Timeline, including all the Effects, graphics, and audio and compresses it for and optimal balance of file size and media quality. These codecs are designed to retain the image quality and details from your source footage but optimized for better playback. Broadcasters and postproduction facilities generally standardize on mezzanine formats to streamline their workflows, but it does mean transcoding their footage before they can start.
Transcoding time is typically meaning one hour of source footage takes about one hour to transcode. Many codecs installed into the operating system work as a component inside the QuickTime or Video for Windows formats. Contact the manufacturer of your hardware or software for more information about codecs that work with the files that your specific devices or applications create. Premiere Pro lets you work with a wide range of native media formats from the latest cameras, without transcoding or file rewrapping.
The media formats listed here are supported for directly importing and editing with Premiere Pro CC. You can clip metadata without any transcoding, rewrapping, or logging and transferring required. Skip time-consuming transcoding and rewrapping when working with file-based formats.
Adobe Premiere Pro CC leads the industry with incredible, thorough native media support, meaning you can edit virtually all of the major video, image, and audio formats natively without waiting.
Just get the right version according to your computer's operating system and follow the step-by-step guide below to achieve your goal smoothly. Copy the video files from camera or camcorder to your computer. Launch the any video to Premiere Pro Converter, and you may either click "Add file" button to import video files, or directly drag and drop the files into this program. Acrok software is able to output proper formats for video editing software and devices.
Most of these software modules are installed automatically with Premiere Pro. For a list of file formats supported for import in Premiere Pro, see Supported file formats. The Import command brings files that are already on your hard disk, or other connected storage devices, into your project.
Importing files makes them available to a Premiere Pro project. You can import a single file, multiple files, or an entire folder. To learn how to import media in Premiere Pro, watch this tutorial. The Media Browser gives you quick access to all your assets while you edit making it easy to browse to files. Unlike the Import dialog box, the Media Browser can be left open and docked, like any other panel.
The Media Browser panel opens. On the left, there is a list of folders. On the right, the contents are displayed. You can toggle between list view and thumbnail view. Ingest B. Ingest settings C. File types displayed D.
Directory viewers E. List view F. Thumbnail view G. Zoom slider. To view only files of certain types, click the Files types displayed icon, and select a file type. To select an extra type, open the menu again and make another selection. Repeat until all desired types have been selected. Select one or more files from the list of files. To select more than one non-contiguous file, Ctrl-click Windows or Command-click macOS the filenames.
Previous Next. Video transcript. Hey there, this video we're going to talk about the main file types to use, mp4s or mov files. We'll also look at codecs, what they are, and what the main ones you'll use are. We can export anything, I'm going to export something a bit smaller.
I'm going to use Clouds HD, make a sequence from the clip, and I'm just going to export this straight out like this. I'll do some basic editing, just make it smaller so it doesn't take so long, even smaller. You must have your Timeline selected. Let's talk about the two file types. The main ones are, there is lots, it's outside of the scope of this course really to go through everything, but the main ones are h.
If you're on a PC, occasionally you might get asked for an avi. If you're on a PC and you can't see QuickTime, often you need to install the free QuickTime Player, and often that will give you the kind of codecs and things, that you need to make this work. So let's do it twice, let's send the-- let's do the one that we've been doing, h. Doesn't really matter if you change it in here, or in Premiere, when you're kind of passing it over, it doesn't matter.
Now we've talked about mp4s quite a bit, and how to like lower the Bitrate, QuickTime's are a lot bigger in terms of file sizes, but the codec, which we'll talk about a little bit more in a second, is what you need to pick. Now in this case you could pick Match Source, or often you get asked for this one here, the ProRes I'm going to HQ, that's what I get asked for a lots from different people.
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