Mar 19, 2018 After you delete preferences, new preferences are automatically rebuilt for After Effects. Note: since you have deleted the preferences file, you may have to reset some of your preferences. For terminology’s sake, resetting preferences, deleting preferences, trashing preferences, or simply, “trashing your prefs,” all mean the same thing. USING ADOBE MEDIA ENCODER CS4 24 Encoding media. Note: Altering any setting changes the preset name to “Custom,” until you save the settings as a new preset. 8 When you’re finished customizing a preset, click the Save Preset button. 9 Type a name for the preset. Remember me reset password. Adobe Media Encoder settings for GoPro footage? I'm trying to mimic this in Adobe with Media Encoder then Premiere. I've selected. Quit Media Encoder. Go to UserHomeDirectory > Library > Preferences > Adobe > Adobe Media Encoder > 4.0 and delete the files called 'AMEPrefs.xml' and 'AppPrefs.xml'. Then restart Media Encoder. For me, this reset the window size and placement. I tried moving the Export Settings window down so half of it was off the bottom of the screen. Oct 15, 2018 Set preferences. To open the Preferences dialog box, choose Edit > Preferences (Windows) or Adobe Media Encoder > Preferences (mac OS). To restore default preference settings, hold down the Shift key while the application is starting (for both Windows and mac OS). The user Preferences file and the Presets folder are located in.
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Premiere Pro Project Settings
Just the other day, I became the lucky recipient of a brand new MacBook Pro Retina as my new work laptop. Nice! I’m sure many of you know what I was thinking–Mercury Playback Engine support! The GPU is also supported for hardware acceleration when creating ray-traced 3D compositions in After Effects, as well. More on that a bit later.
Premiere Pro
Upon launching Premiere Pro CC (lightning fast, by the way!), I noticed that only OpenCL processing was available in Project Settings > Video Rendering and Playback > Renderer. With the NVIDIA 650M GPU, I expected to see CUDA processing available, as well, as this video card supports both OpenCL and CUDA processing. I did not.
Upon launching Premiere Pro CC (lightning fast, by the way!), I noticed that only OpenCL processing was available in Project Settings > Video Rendering and Playback > Renderer. With the NVIDIA 650M GPU, I expected to see CUDA processing available, as well, as this video card supports both OpenCL and CUDA processing. I did not.
Note: Having access to both CUDA and OpenCL processing in Premiere Pro is only available in Mac OS X. The NVIDIA 650M will only support CUDA in Windows.
This is not a Premiere Pro issue, it is because CUDA drivers are not natively installed in your shiny new MacBook Pro. You need to do that in order for CUDA processing to work with the Mercury Playback Engine. For these drivers, go to the NVIDIA site:
I found the most current driver, along with an archive of earlier drivers, here: http://www.nvidia.com/object/mac-driver-archive.html
Premiere Pro Project Settings
Download the driver and install it. After installation, check Apple > System Preferences for the CUDA control panel. Click on the control panel to access the controls. You can update the CUDA driver here, if there is one available. All CUDA updates can be accessed from the control panel, so it’s a good habit to check it periodically.
To enable CUDA processing for the Mercury Playback Engine, first restart Premiere Pro. Then, head to File > Project Settings (note: for CS6 users, Project Settings are in the Project menu) to see if you have installed it.
You should now have access to CUDA processing for the Mercury Playback Engine, as shown (left).
If you are still having trouble enabling CUDA, the MacBook Pro is not seeing your NVIDIA card. You have two video cards in a MacBook Pro Retina, the NVIDIA 650M and the Intel HD Graphics 4000 built in card. I feel it is important to force the MacBook Pro Retina to use the NVIDIA 650M at all times so that it does not switch to the Intel card unnecessarily.
To do this, choose the Apple menu > System Preferences > Energy Saver and disable the Automatic Graphics Switching checkbox. That will ensure you are using the NVIDIA card at all times.
After Effects
The NVIDIA 650M in the MacBook Pro Retina is supported to accelerate ray-traced 3D compositions in After Effects, however, this is not recommended. Unfortunately, the NVIDIA 650M has barely enough VRAM to support acceleration for ray-traced 3D compositions. See this forum post by Todd Kopriva for details: http://forums.adobe.com/thread/1326404?tstart=0
That said, users will probably try to enable acceleration in their MacBook Pro Retina anyway.
If you still want to enable CUDA processing despite potential problems you may run into, launch After Effects to make sure that the application is seeing your NVIDIA 650M. If you launch After Effects and get a Warning dialog box, the application is not seeing your GPU. The reason is that the video card may have too many other resources trying to use the VRAM (like other applications, web browsers, or connected hardware), therefore, After Effects will not enable the card because there is not enough VRAM available.
If this happens, click OK in the dialog box, and close After Effects. Close other applications, web browsers, and disconnect any hardware device reliant upon the GPU. Then, restart After Effects. Note if you get the Warning dialog box when inspecting Preferences.
If CUDA is still disabled, reboot the MacBook Pro Retina, and then relaunch the application. CUDA should now be enabled.
You can ensure that CUDA is enabled by checking the GPU Information dialog box.
To view the GPU information dialog box, choose Preferences > Preview, and then press the GPU Information button to launch the dialog box.
After Effects GPU Information
If CUDA information is available, then you will now have access to the benefits of CUDA.
For best performance, choose System Preferences > Energy Saver from the Apple menu. Click the Power Adapter button and disable Automatic Graphics Switching, and then close System Preferences.
If you continually are running out of VRAM when using hardware acceleration for ray-traced 3D rendering, it may be a better idea to do this on a computer with a NVIDIA card that has more VRAM.
Adobe Media Encoder
Adobe Media Encoder also utilizes GPU acceleration for encoding certain items. After launching the application, look in the Queue panel and inspect the menu at the bottom of the panel. There you should see some familiar choices for GPU acceleration. If CUDA processing is not available, try closing other applications and any web browsers which take up GPU resources. If that does not work, restart the MacBook Pro and CUDA processing should again be available.
Adobe Media Encoder also utilizes GPU acceleration for encoding certain items. After launching the application, look in the Queue panel and inspect the menu at the bottom of the panel. There you should see some familiar choices for GPU acceleration. If CUDA processing is not available, try closing other applications and any web browsers which take up GPU resources. If that does not work, restart the MacBook Pro and CUDA processing should again be available.
I hope this article helps you troubleshoot problems you may be having enabling the NVIDIA 650M for CUDA processing in Adobe video applications.
Learn about effects, video, audio, and publish settings available in the Export Settings dialog for Adobe Media Encoder.
To open the Export Settings dialog, select Export Settings from the context menu of the asset, or select Edit > Export Settings. Alternatively, you can double-click the video asset format name to open Export Settings dialog. If your mouse cursor is not on the video asset format in the media queue panel, the Edit > Export Settings appears as grayed out.
The Export Settings dialog includes a large viewing area on the left, which includes Source and Output panels.
Other tabs in the Export Settings dialog box include available effects, video and audio encoding, closed captions, and Publish settings for the selected format.
For information about using the various encoding options in the Export Settings dialog box, see Encoding and exporting.
For information about using the controls in the timeline area and the image viewing area to crop and trim the source item, see Crop and trim source before encoding.
H.264 and HEVC formats include a Performance menu with Hardware Accelerated selected by default. Hardware acceleration enables faster encoding by utilizing the built-in hardware on your system.
Some export settings may not be supported by your system's hardware. In that case, the Performance menu switches automatically to Software Only.
Note:
Hardware acceleration is not supported for mac ProRes with Intel GPU based systems.
- To toggle between previewing an image with or without pixel aspect ratio correction, click the Aspect Ratio Correction toggle button to the right of the Zoom menu.
- To zoom into and out of the preview image, choose zoom level from the Select Zoom Level menu above the timeline.
Note:
You can also zoom out by pressing Ctrl+- (hyphen) (Windows), or Command+- (hyphen) (Mac OS). Zoom in by pressing Ctrl+= (equal sign) (Windows) or Command+= (equal sign) (Mac OS). These keyboard shortcuts use the main keyboard, not the keys on the numeric keypad.
A time display and a timeline are located under the image viewing area in both the Source panel and Output panel. The timeline includes a current-time indicator, a viewing area bar, and buttons for setting In and Out points.
To move the current-time indicator, click or drag the current-time display or drag the current-time indicator. You can also type the timecode directly in the current time display to move the CTI to the specific frame.
You can trim source video and audio so that only a portion of the entire duration is exported.
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In the Export Settings dialog box, click either the Source tab or the Output tab.
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To trim the video, set an In point (first frame) and Out point (last frame). You can set the In point or Out point to the current time by clicking the Set In Point or Set Out Point button above the timeline, or by dragging the In point or Out point icon in the timeline. You can also use the I key to set an In point and the O key to set an Out point.The Source Range menu can contain the following choices:
- Work Area - Trims to the work area specified in Premiere Pro and After Effects projects
- In/Out - Trims to the In and Out marks set on clips or sequences from Premiere Pro and After Effects
- Entire Clip/Sequence - Uses the entire duration of the clip or sequence
- Custom - Trims to the In and Out marks set in the Export Settings dialog.
Note:Adobe Media Encoder honors timecodeinformation in a source file. If the source starts from 00:00:05:00,then the timeline for the item in Adobe Media Encoder also startsfrom 00:00:05:00, and not from zero. This timecode information is includedin the encoded output file.
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To crop the video frame, click the Crop button in the upper-left corner of the Source panel.
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- Enter values for Left, Top, Right, Bottom, in pixels.
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To constrain the proportions of the cropped video frame, choose an option from the Crop Proportions menu.
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To preview the cropped video frame, click the Output tab.
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From the Source Scaling menu on the Output panel, choose how the source video frame fits within the exported video frame. For more information on the different scaling options, see Scaling source frames.
Note:
To revert to an uncropped image, click the Crop button again.
Use the options in the Source Scaling menu of the Export Settings dialog for better scaling of source frames within output frames of a different size. This setting is available for any output format with editable frame dimensions.
Scales the source frame to fit within the output frame while maintaining pixel aspect ratio of the source. Source frames are letter-boxed or pillar-boxed within the output frame as necessary.
If you have cropped the video, the dimensions of the cropped video are adjusted to fit within the Frame Width and Frame Height specified in the Video tab. If the aspect ratio defined by those values does not match that of the cropped video, then you have black bars on encoded footage.
Scales the source frame to completely fill the output frame while cropping the source frame as necessary. Pixel aspect ratio of the source frame is maintained.
Resizes the source frame to completely fill the output frame. Pixel aspect ratio of the source is not maintained, hence distortions can occur if the output frame does not have the same aspect as the source.
Source frame, including the cropped area, is fit within the output frame. Pixel aspect ratio is maintained. A black border is applied to the video, even if the target dimension is smaller than the source video.
Automatically sets the height and width of the output video frame to the height and width of the source video frame, overriding the output frame size settings.
Select this setting if you want the output frame size to match the source frame size.
Note:
Change Output Size to Match Source is not available with all export formats. You can achieve the same result by clicking the Match Source button in the video tab or by choosing a Match Source preset.
Use the options in the Preset settings to add various effects to your content such as Lumetri, SDR, Image overlay, and so on.
Use the Lumetri effect to apply various color grades to your video sequence.
You can choose a Lumetri preset from the pop-up menu and choose the Select.. Option from the Applied drop-down list to apply a custom Look or LUT file.
Use SDR Conform to convert your HDR video to SDR for playback on non-HDR devices. Set the following values in percentage:
- Brightness
- Contrast
- Soft Knee (controls the transition to full compression mode)
Use Image Overlay to overlay an image on your sequence. The following options are available: Vitamaster owners manual treadmill 87088.
- Applied - Browse and choose the image to overlay
- Position - Sets the relative position of the image overlay within the output frame. For example, Center, upper left, lower right.
- Offset - Specifies the horizontal and vertical offset from the relative position (in pixels) for the image overlay.
- Size - Adjusts the size of the image. By default, the image overlay's size auto‐adjusts to the current output frame size. The image gets overlaid according to its relative size regardless of the output resolution. When Absolute Sizing is enabled, the image overlay's size is linked to the native size of the source image. When Absolute Sizing option is checked, the image overlay appears smaller at higher output resolutions and larger at lower output resolutions.
- Opacity - Specifies the opacity of the image
Overlays text onto the output video. The following options are available with this effect:
- Prefix - Text added to the beginning of the filename.
- Suffix - Text added to the end of the filename.
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Format - Specifies the options the name is displayed with. The following options are available:
- Prefix and Suffix Only
- Source filename
- Source filename (without extension)
- Output filename
- Output filename (without extension)
- Position - Sets the relative position of the text within the output frame. For example, Center, upper-left, and Top Center.
- Offset - Specifies the horizontal and vertical offsets (in pixels) for the name
- Size - Adjusts the size of the name
- Opacity - Specifies the opacity of the black background behind the text
Overlays a timecode on your video output. The following options are available for the Timecode Overlay effect:
- Position - Sets the relative position of the timecode within the output frame. For example, Center, upper-left, Top Center
- Offset - Lets you adjust the horizontal and vertical offsets (in pixels) of the timecode within the output frame
- Size - Adjusts the size of the timecode
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Time Source - Specifies how timecode is generated
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Media File - Reads Timecode from the source media. If the source media is not detected, timecode overlay starts at zero and matches the source's frame rate.
- Offset in Frames - Specifies the number of frames by which the source timecode is to be offset. You can give either positive or negative values for the offset.
- Generate Timecode - Lets you specify custom timecode to overlay over the video. When this option is selected, choose a frame rate and counting method from the Format drop-down list. You can also specify a custom starting Timecode.
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Media File - Reads Timecode from the source media. If the source media is not detected, timecode overlay starts at zero and matches the source's frame rate.
Time Tuner allows you to extend or reduce of the output file by duplicating or removing frames at specific times so that the overall change in duration is unnoticeable. The following options are available within the Time Tuner Effect:
- Current Duration - Duration of the original source file.
- Target Duration - New duration of the output file after effect is applied.
- Duration Change - Percentage by which the output duration differs from the source duration. You can set this from -10% (shorter duration) to +10% (longer duration).
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In Preset Use - Select the option you want Time Tuner to use when using the Time Tuner preset. The following options are available:
- Target Duration - Adjusts the output to a specific target duration, regardless of the source's original duration.
- Duration Change - Adjusts the output duration to a percentage of the source's original duration.
- Skip Slates - Allows the Time Tuner to ignore slates. Choose this option to ignore series of still images with a combined duration longer than 10 seconds.
Video Limiter constrains the luminance and color values of source files so that they fall within safe broadcasting limits.
- Reduction Axis -Sets the limits defining the range of luminance (Luma), color (Chroma), both color and luminance (Chroma and Luma), or the overall video signal (Smart Limit).
- Signal: Sets the minimum and maximum range for the effect. Values outside this range are constrained. Min and Max values change depending on the Reduction Axis option chosen.
- Reduction Method: Sets the tonal range for compression based on Highlights, Midtones, Shadows, or a combination of these.
- Shadow: Sets the Threshold and Softness of darker values. Threshold adjusts the lower limit of darker values while Softness adjusts the boundary between tonal ranges.
- Highlight: Sets the Threshold and Softness of lighter values. Threshold adjusts the upper limit of lighter values while Softness adjusts the boundary between tonal ranges.
See Automatic Loudness Correction for more information.
Adobe Media Encoder is used both as a stand-alone application and as a component of Adobe Premiere Pro, After Effects, and Flash Professional. In some contexts—including rendering and exporting from Premiere Pro—you set encoding options in the full Adobe Media Encoder Export Settings dialog box. In other contexts—including rendering and exporting from After Effects—you set encoding options in a format-specific Options dialog box that only presents a subset of the encoding options.
Adobe Media Encoder ships with many presets, each of which sets the various options to meet the requirements for a common target output. In the Export Settings or format-specific Options dialog box, the options available on the Video tab depend on the format you’ve specified.
Options not documented here are either specific to the selected format or does not require documentation. For detailed information, consult the specifications for the selected format. For example, MPEG formats include many advanced options not listed here. For detailed information on options not listed, consult the specifications for the MPEG‑2 (ISO/IEC 13818) format and the Wikipedia website.
Note:
Some capture cards and plug-in software provide their owndialog boxes with specific options. If the options you see are differentfrom the options described here, see the documentation for yourcapture card or plug‑in.
For general information about compression settings, see Compression tips.
Conforms the output to the NTSC standard or to the PAL standard. When set to Match Source, Adobe Media Encoder automatically sets this value to match the source. For example, if the source file frame rate is 25 fps, Adobe Media Encoder sets the TV standard to PAL.
Dimensions, in pixels, of the output frame. When set to Match Source, Adobe Media Encoder automatically sets this value to match the frame dimensions of the source. (See Image aspect ratio and frame size.)
Frame rate of the output file in frames per second. Some codecs support a specific set of frame rates. When set to Match Source, Adobe Media Encoder automatically sets this value to match the frame rate of the source. (See Frame rate.)
Specifies whether the output file has progressive frames or frames made up of interlaced fields, and if the latter, which field gets written first. Progressive is the correct setting for computer display and motion picture film. Choose Upper First or Lower First when exporting video for an interlaced medium, such as NTSC, or PAL. When set to Match Source, Adobe Media Encoder automatically sets this value to match the field order of the source. (See Interlaced versus non-interlaced video.)
Select the pixel aspect ratio appropriate for the output type. When the pixel aspect ratio (displayed in parentheses) is 1.0, the output has square pixels; all others have non-square pixels. Because computers generally display pixels as squares, content using non‑square pixel aspect ratios appear stretched when viewed on a computer but appear with the correct proportions when viewed on a video monitor. When set to Match Source, in H.264 and MPEG-2 formats, Adobe Media Encoder automatically sets this value to match the pixel aspect ratio of the source. (See Pixel aspect ratio.)
Specifies whether Adobe Media Encoder uses the Baseline, Main, or High profile.
Note:
Profile and Level settings are relevant to formats that use variants of MPEG encoding, including H.264. Recommended settings are often a combination of Profile and Level settings. For example, a common recommendation for high-quality encoding for Internet distribution is a setting of High Profile, Level 5.1. For more information, see the Wikipedia website.
Level used by Adobe Media Encoder, with ranges that differ depending on output format. The different level choices can constrain the Frame Size, Frame Rate, Field Order, Aspect, and Bit rate settings.
To export as a sequentially numbered series of still-image files, select this option.
Specifies SMPTE/DPX or Cineon header.
Color depth in bits per channel.
Number of times the encoder analyzes the clip before encoding. Multiple passes increase the time it takes to encode the file, but generally result in more efficient compression and higher image quality.
Number of B frames (bi‑directional frames) between consecutiveI frames (intra‑frames) and P frames (predicted frames).
Number of frames between I frames (intra‑frames). This valuemust be a multiple of the M frames value.
Frequency of each closed group of pictures (closed GOP), which cannot reference frames outside the closed GOP. A GOP consists of a sequence of I, B, and P frames. (This option is available if you choose MPEG‑2 as the format.)
Number of megabits per second. Different formats present different bit rate options. The minimum bit rate differs according to the format. For example, for MPEG‑2 DVD, the minimum bit rate is 1.5 Mbps.
Specifies the type of variable bit the codec produces in the exported file:
Variable bit rate, with the encoder making a single pass through the file from beginning to end. Single-pass encoding takes less time than dual-pass encoding, but doesn’t achieve the same quality in the output.
Variable bit rate, with the encoder making two passes through the file, from beginning to end, and then from end to beginning. The second pass prolongs the process, but it ensures greater encoding efficiency, and often a higher-quality output.
Note:
When comparing CBR and VBR files of the same content and file size, you can make the following generalizations: A CBR file can play back more reliably over a wider range of systems, because a fixed data rate is less demanding on a media player and computer processor. However, a VBR file tends to have a higher image quality, because VBR tailors the amount of compression to the image content.
Bit rate Level (H.264 Blu-ray, and MPEG-2Blu-ray formats only)
When the Bit rate level is set to Custom, the output bit rate can be changed to any value. When the Bit rate Level is set to High, Medium, or Low, the bit rate is set automatically based on frame dimensions as a read-only value and cannot be changed. Adobe Media Encoder has default presets for the formats which have the Bit rate Level set to automatic.
Key Frame Interval [Seconds] or Set Key Frame Distance(Frames)
Number of frames after which the codec creates a keyframe when exporting video. (See Key frames.)
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Reset Preferences Adobe Media Encoder Wikipedia Free
- Click the Log in button. You get redirected to the Behance login page.
- Allow Adobe Media Encoder to manage your Behance videos by entering your credentials.
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To create keywords for the uploaded video, select Tag, and add words separated by commas. Since this is a required field, you cannot leave it blank.
- To delete the local file after uploading to Behance, select Delete the local file after upload.