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.
Learn about effects, video, audio, and publish settings available in the Export Settings dialog for Adobe Media Encoder.
The Export Settings dialog includes a large viewing area on the left, which includes Source and Output panels.
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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.
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.
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:
Use Image Overlay to overlay an image on your sequence. The following options are available:
Overlays text onto the output video. The following options are available with this effect:
Overlays a timecode on your video output. The following options are available for the Timecode Overlay effect:
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:
Video Limiter constrains the luminance and color values of source files so that they fall within safe broadcasting limits.
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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