Finally, if you have access to a faster CPU, read this article and see if this helps speed things up:. Maximum render quality only affects clips that are scaled.
As the article states, if you see jagged bumpy edges, turn this on. Otherwise, you can leave it off. Great info here! Thanks for making this write up.
I am worried they may do more harm than good, as these formats are already incredibly high quality on their own. Your email address will not be published. Access over 1, on-demand video editing courses. Become a member of our Video Training Library today! April 12, at am. Larry says:. Jason: Premiere uses Adobe Media Encoder for all its exports.
Daniel Haworth says:. May 10, at am. Hello Larry, thank you for all your work over the years helping us editors! May 10, at pm. Daniel: Thanks for sharing your comments. Steve W says:. August 2, at pm. Summary: Max Render: check or uncheck in PPro? Max Rendeer: check or uncheck in Adobe Media Encoder? Thanks for your advice. Steve: Good questions. Here are the answers as I understand them. Thanks Larry for your quick and informative reply.
But also say, if scaling, I should use MRQ? First, get down from the ledge. What I recommend is to contact the folks at Red Giant — they will explain what this is and how to use it. Thanks for explaining. You ask an intriguing question. I did some homework and wrote an article that answers your question more fully:.
I want to create a 50 frame progressive video from my 25 FPS interlaced footage. What time interpolation options should I choose if I want Premiere to create a frame out of every field?
But, use Adobe Media Encoder to change the frame rate from 25 to Fields should be set to None. You can actually set a sequence start timecode, either at the time you create the sequence or subsequently. You go to the menu, next to the sequence name, at the top left of the Timeline panel. From the drop-down menu select Start Time. Here you can modify the sequence timecode.
This is a much easier timecode customise option than those offered by Avid Media Composer, for one. Thanks for your comments. When I first wrote this review, back in , entering timecode when creating a sequence was not possible. Your email address will not be published.
Access over 1, on-demand video editing courses. Become a member of our Video Training Library today! Posted on May 29, by Larry. Greg Shaw says:. June 1, at am. Klaus W. Roessel says:. June 4, at am. Larry says:. Tim I. January 27, at am. Mark Suszko says:. March 18, at am.
The clip under the playhead has a non-accelerated effect. The last clip has Optical Flow enabled on Speed. It turns out there is no simple or direct way in the timeline to tell if part of your rendering is done in Software mode. So, how can you find out if a clip that triggers a red render bar does so because of Software rendering or not? First, you need to find out if the clips in the area with a red render bar have effects on them.
If the fx badge is gray, there are no effects on the clip. The colors of the fx badges on each clip show you what kinds of effects have been applied. The short version of this is that you only need to worry about clips with green and purple badges, and those with a red line under the badge. If one or more clips do have a non-accelerated effect, then some of the calculations will be done on the CPU.
The Lego bricks icons in the Effects panel show if effects are accelerated and bit capable. But the Effect Controls panel only shows effects on one clip at a time, so it will take a while to go through all the clips.
This will show all the effects that have been used on those clips. The Remove Attributes dialog shows all the effects on the selected clips. No banding or blocking. Some banding and blocking. Footage by Neumann Films. Serious banding and blocking, especially in the gradients in the ocean. The Render at Maximum Depth tick box refers to the accuracy of the calculations, while the Depth setting below refers to the bit depth of the encoding. Surprisingly, this setting has little to do with the tick box above it.
Note the banding in the preview. The preview does not show the final quality. So the Depth setting decides if the rendered file will have 8-bit video, bit, or more. To ensure high-quality output, always use bit depth when exporting to ProRes. For some strange reason, all the presets default to 8-bit—presumably a choice of performance over quality—but this leaves you open to banding and blocking.
Note that when Smart Rendering kicks in, this setting has no effect. If you have rendered previews of the segment, and choose Use Previews, the setting will not affect the output. Also, note that the Match Sequence Settings feature in Export Settings is set to Maximum Bit Depth if your sequence has this enabled, but the Depth is set to 8-bit, making even this feature unusable for high-quality ProRes export. MRQ, when active, will give you sharper images after scaling because it enables a higher-quality Lanczos interpolation method instead of the default bilinear.
This is why it also increases the export time when active. Sounds pretty simple. But does it affect other things than scaling? You bet. And what kind of algorithms are we looking at here? You may have seen that Photoshop has several scaling algorithms to choose from. Bicubic, Bicubic Sharper, etc. And they all have different pros and cons. Photoshop scaling options.
Why do we have so many to choose from? The second inaccuracy is that it only mentions Scaling, despite it actually affecting all the Transform options, including Scale, Position, and Rotation—plus any effects that do Scale, Position, and Rotation, like the Warp Stabilizer. If you have GPU acceleration enabled, it will not increase the encoding time.
See Test 7. If the render bar is red, it may kick in. But there are some exceptions. And remember— it affects Transforms even though it only mentions scaling in the Export settings.
Then again, you might be scaling without realizing it. For example, Warp Stabilizer introduces scaling, rotation and repositioning. Not only is it complex, but the different settings are placed in different corners of the software—and they all need to be set correctly. Many of us will struggle to find, understand, and correctly apply all these settings. Adobe described how and when the different scaling algorithms work in a blog post from As you can see in the table above, Premiere Pro uses a fast, lower-quality algorithm for Playback by default.
This makes playback less demanding and may be the only workable choice on less capable systems. So you might find that your system struggles and starts dropping frames. Only when this feature is enabled will the program monitor truly reflect the final export. And this will affect how your compositing, cross-dissolves, and color grading will look.
But even with GPU rendering, MRQ can improve quality when working with footage that supports fractional resolution Wavelet codecs, like RED for example , using full-resolution sources instead of a fractional resolution for the export when the image has been scaled down.
See Test And they mention that this list will change over time, as well as what impact MRQ has on them. But it only affects Software rendering. See Test 9. Here are two common statements.
So, to get less banding and blocking when exporting using the standard export method, choose the same preset, you should activate MBD. This is true for MRQ, but only if your timeline does not have a red render bar due to non-accelerated effects, which forces you into Software rendering. Not entirely true. Effects and transitions like Morph Cut and Optical Flow need to be rendered to see the actual result. Effects and compositing can look very different before and after rendering.
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