The Cool Stuff in Premiere Pro

Published by Jarle Leirpoll, Elverum, Norway, April 2015

EAN/ISBN for PDF version: ISBN 978-82-993648-7-4

Sponsored by Østnorsk Filmsenter AS (East Norwegian Film Center), www.ostnorskfilm.no

Layout by Steve Williams, Red Inc. http://redinc8.wix.com/redinc

Visit the books web site at http://premierepro.net for lots of tutorials, free presets and templates.

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3The Cool Stuff in Premiere Pro

Foreword

Why I wrote this bookIt’s been bothering me for a few years that there were no really advanced books on editing in Premiere Pro. The existing books tend to start from scratch and take the reader to a certain level. That leaves no room for the really advanced stuff.

A few years back, I read Mark Christiansen’s excellent book on Compositing in After Effects. It was very hands-on and practical, and at the same time it had the technical info that visual effects professionals need to work efficiently in the high-end VFX industry.

I wanted to write a book for video and film editors with the same level of practical and hands-on info for professional editors, as well as those who want to become professional editors. My assumption is readers are already familiar with the basics of Premiere Pro software, though there should be new and useful information here for editors of all levels.

My sincere thanks to:Everyone who has given me permission to use their footage, and to those who shot and created specific video or stills material for me. There would be no book without you!

Grete Nordhagen, my partner in love – for your patience and support. My grown-up children Anders and Marte, and my bonus daughters Tove and Ida – you have not gotten the attention you deserve while I was writing, but you never complained.

Fredrik Johannesson (former Adobe), who once believed I would be the perfect person to present new versions of Adobe software to Norwegians, and got me into beta testing of Adobe software. You changed my life!

All my students. Your questions have forced me to always explain not only how, but also why we do things one way instead of another. I’ve learned a lot from that.

Immanuel Heims, for proofreading. You’ve spotted hundreds of errors.

Huge heaps of thanks go to the entire Adobe Premiere Pro team who have patiently answered my geeky questions, and a very special thank you to David Kuspa, Al Mooney and Steve Hoeg. Other Adobe people who have helped me a lot are Max Hagelstam, Colin Smith (former Adobe), Todd Kopriva and Kevin Monahan. It’s always a pleasure to work with you all!

Jarle Leirpoll, Elverum, Norway, March 31, 2015.

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4 Foreword

ContentsForeword 3

Why I wrote this book 3My sincere thanks to: 3

Accelerated workflow 13Get better Results, faster – much faster 13Before you start editing 14

Copy Folder Template 14Create a new Premiere Project 16Import Template Project 16Import all the Media via the Media Browser 17Create Bin from Media Browser 17Sorting the Clips into Bins 18Time for Backup 19Renaming Clips 20

Add Metadata 21Decide what Metadata to see in the Project 22Locating Assets in the Project 23Advanced Search and Search Bins 23Metadata Origins 24Sidecar File or Embedded Metadata? 24Understanding Clip Metadata and File Metadata 24Link Clip Metadata to File Metadata 25Deciding on your Keywords 25Use older Versions for Speech Recognition 26Order Transcripts online 26Add Markers 26Change Marker Colors with Shortcuts 27Search for Markers in Zipped Project File 27Use Labels to quickly find Stuff in Timelines and Bins 27

Decide what to do with your Audio 28Merge Clips? I don’t think so! 29Backup again 29Do it! 30

The Rough Cut (String-Out Sequence) 30To Hover Scrub, or not to Hover Scrub 30Storyboarding 31Top & Tail Editing 33Quick Navigation in the Timeline 35Keep Notes inside of Premiere 36

Trimming and Fine Tuning 36Dynamic Trimming 38Avoid complex Timelines - use Nesting 39Nesting Gotchas 43

Make it shine 46

Color Grading 47Effects and Compositing 47Motion Graphics 47Sound Mix 48Get a second Opinion 49

Output 49Creating a Master File 49Export to Blu-ray and DVD 50For the Web, and for Playback on Mac and PC 50

Putting it on the Shelf 50Make Sequence and Project Dupes 50Offline (Proxy) Editing 51Render & Replace 51

More Workflow Tips 51Comments and Suggestions are welcome 51

Audio in Premiere Pro 53Oh, what a difference a sound makes 53Audio adds to the continuity 54Audio quality matters 54Always record sound 54Temporal relations of sound 55

Types of Audio 55SOT 55MOS 55Dialog 56Ambience, Nat-sound, Atmos, Presence 56Room tone 56Wild sound 56Silence 56Foley 56Sound Motif 57Sound FX 57Make your own Sound FX 57Walla 58ADR, Dubbing, Looping 58Voice-Over (Narration) 59Music 59

The Audio Chain in Premiere 59Channel Mapping 60Audio Gain 60Clip Volume 60Clip Channel Volume 61Clip Audio Effects 61Clip Pan 62Track Effects 62Track Volume, Solo and Mute 63Post-Fader Track Effects 63

5The Cool Stuff in Premiere Pro

Channel Output Mapping 63Track Meters 64Track Assignment 64Track Pan 64What about Sends? 65Nesting 65

Audio Track Types in Premiere 65Standard Tracks 65Mono Tracks 65Adaptive Tracks 655.1 Tracks 66Master Track 66Submix Tracks 66

Audio Stuff in the Project Panel 67Preferences for Audio Channel Mapping 67Audio Settings for FCP 7 and Avid users 67Other Audio Preferences 68Audio channel patching in the Project Panel 69Get rid of audio channels 70Modify Audio on Sequences 70Working with dual system sound 70Gaining and Normalizing in the Project Panel 72Break out to mono and Extract Audio 72Speech Analysis 72

Audio Stuff in the Source Monitor 73Adjust Audio Volume in Source Monitor 73Audio waveform in the Source Monitor 74Edit Multi-Clips in the Source Monitor 75

Audio Stuff in the Timeline 75Using a Control Surface 75Ways to adjust Audio Level 76Panning 81Fast forward with better audio 82Select Source Audio Channels 82Changing Source Channel in the Timeline 82Source Assignment presets 83Track Height Presets AKA Timeline Views 83 Audio Crossfades 85Long exponential fade 86Sample accurate audio editing 87Recording Voice Over 87Merge clips 89Linked clips, AKA Multi-Clips 89Grouping clips 90Time Remapping and Audio 90

Multi-channel Audio 90Multichannel Mono Set-Up 90

What did we just accomplish? 94Multichannel Adaptive Tracks Set-Up 94Many other set-ups are possible 95Editors do it differently 95Who needs 32 Output Channels? 96Tweak the Audio Meters 96Audio Output Mapping preference 96

Multi-channel Audio Export 97Multichannel out 97Export Discrete QuickTime Tracks 975.1 Track Layout for QuickTime 98

Audio Sweetening, Mastering and Mixing 98Audio Sweetening and Mastering 98Mixing Audio 98Miscellaneous Mixing tips 99We need variation 99Choose your reference level 99Loudness Radar 100Use Audition for Legalizing 100Normalizing 101Submixes 101Fill Left with Right/Fill Right with Left 102Listen in a loop 102Equalizing 102Targeted switch 103Dynamics 103Reverb and delays 106

5.1 mixing and editing 1085.1 Sequence Setup in Premiere 108Using 5.1 clips in a Multichannel Sequence 110Sending 5.1 and Stereo to separate Output Channels 110

Sound effects 111Scary voice 112Telephone voice 112Distortion 113Guitar Suite for Distoriton 113DeNoiser is OK for analogue tape noise 113Third-Party Audio Plug-ins 113

Using Audition 114Edit in Audition 114Fix Problematic Audio 115Get Audition’s Sound FX & Music Library 117Speech Volume Leveler 117Match Volume 118Make Your Audio Broadcast Compliant 118Generate Noise and Tones 118Film Projector Sound 119Do your final audio mix in Audition 120

6 Foreword

Export OMF from Audition 121Premiere Pro Sequence Audio Signal Path 122

Color Grading in Premiere Pro 123Bring your images to a new level of awesome! 123

If your film isn’t graded, it isn’t finished 123It’s not black magic 123You can use the Monitor you have 124Color Correction, Grading or Look Design? 124Why color grade in Premiere? 124Grading Software may cause a convoluted Workflow 125Is this Chapter for you? 125

How much can you push it? 126What is YUV? 127Chroma Compression via Subsampling 128LIN, LOG and RAW formats explained 129Why we get clipped highlights and crushed blacks 129Working with LOG Material 132Use LUTs and Looks in Premiere with Lumetri 132Tweaking the Camera Settings 133

Working with RAW Footage 135Working with ARRIRAW Material 135Working with CinemaDNG Material 136Sony RAW 136REDCODE RAW 137Cinestyle vs RAW 138

32-bit Magic 139Transcoding does not increase Quality 139See the 32-bit Magic in Action 140Multi-Generation Production Workflows 1438-Bit Effects Advice 143

Using the Scopes 144The Reference Monitor 144Why use Scopes? 144Scopes are partially rendered on the GPU 144GPU accelerated Scopes in real-time 145

Color Correction Workflow Overview 152Workflow for Primary Color Correction 155Curves – my Grading Tool of Choice 158The versatile Three-way Color Corrector 160

Memory Colors 161Skin Tone 162Sky 163Foliage and Grass 164Perceived Color and Contrast 164

Secondary Color Correction 165Qualifiers 165Masking 166

Random Masking Tips 168Tracking Masks 169Combine Qualifiers and Masks 172Use Masks and Curves for Dodge & Burn 172Vignettes 173

Shot matching 174Procedure for matching shots 176Walkthrough of a simple shot matching job 177Miscellaneous tips on shot matching 179

Fixing problematic Video 180Achieving a “Look” 185

Sepia 186Bleach Bypass 186Teal & Orange 188

Presets – your secret Weapon 190More useful Presets you may need 190

Additional Tips on Color Grading 199Master Clip Effects 201Use Adjustment Layer as an Effect Preset 202Use a neutral Image to assist your Color Matching 202Use Difference Mode to see what you need to add 203Huge Project Size with Warp Stabilizer 204Don’t make Color Grading your only Tool 204

Graphics in Motion 205A few Workflow Tips before we start 206The Building Blocks of Motion Graphics 206

Animating a Path on a Map 208Rotating Earth 211Video inside Text 215Comic Book Video Presentation 216A grungy Frame for Stills and Video 220Band-Aid holds Images 221Notepad Paper 222Polaroid Images on Cork Board 227Dangling Sign 229Reflections 231Cover Flow 232Splatter 235Silhouettes 235

Lower Thirds 236Use a dedicated Workspace 238Some Samples 239Put Logos on separate Layers 240Use Photoshop to automate Title Creation 240

End Credits 241Pro’s use more interesting Fonts 241Pro’s use simple Color Schemes 241

7The Cool Stuff in Premiere Pro

Pro’s use smaller Font Sizes 242Remedy for Jittery and stuttering Rolling Text or Pans 242Creating Smooth Rolling Titles 243Windows Set-Up 243Mac OS Set-Up 244HDMI on an HDTV Set should be a safe Bet 244Settings in Premiere 245Now for a Smooth Credit Roll – the easy Way! 245Smooth Credit Roll with smooth slow-down 246Create a Smooth Pan on an Image 248Does it have to roll? 249

Subtitles 250Create Subtitles in Premiere 250Creating Subtitles with third-party Software 252Creating SRT Files with Notepad 254What to do with the exported Subtitles File 254Use Microsoft Word (!) 255

Text Techniques in the Titler 255Set new Font as the default 255Animate your Text Effects 257Glowing Text 259Slant it 261Texturize it 265Add some Bounce 267Add some 3D 269Computer Gibberish 269Word Clouds 270

Titler Tips 271Think BIG 271Use Align & Distribute 271Do the Math 272Copy smart 273Move the Anchor Point to a good Position 273Use Integers in Sizes and Positions 274Use the Shape Tools as a starting Point 274Copy Color the easy Way 275Center your Titles if you animate them 275Save a Title with special Characters 277

The Titler – so much more than Text 277Can you draw it in the Titler? 277Shiny Buttons 279Easy Button 280Simple Text Box with rounded Corners 280Magazine style Text Box 281

Motion Graphics for non-standard Screens 281Vertical Screen Ads 281Stadium Advertising LED banners 283Clear Channel 2 Screen Set-Up 286

Video for any Screen 286Output to Video Walls and non-standard Screens 287

Split Screens and PiPs 288Split Screen Basics 288Vertical Split Collage 288Making the Mattes 288Placing Clips in nested Sequences 289Stack it all 289Nice and tidy Many-Ups 290Picture in Picture (PiP) 290More advanced Split Screens 292

Random Motion Graphics Tips 293Add Motion Blur with the Transform Effect 293Use Live Type and Motion Files in Premiere 294Royalty Free Video on Vimeo 294Free Map Resources 295Get rid of unwanted Fonts 295Hebrew 295

That’s it! 295

Compositing in Premiere Pro 297The wonderful and versatile Track Matte Key 297

What can the Track Matte Key do? 298Witness Protection Effect 299More Track Matte Fun with more Sources 302Track Matte Key as a Wipe Transition 303Use a Texture or a Video Clip as your Matte 305Re-lighting a Scene with Track Matte Key 306Using Secondary Color Correction for Track Mattes 306Digital make-up 308

Blending Modes 310The five most useful Blending Modes 310Cycle through Blending Modes 311Some cool uses of Blending Modes 312

Keying Skills 316Lighting for Chroma Key 317Shooting for Chroma Key 318One-click Key? No, it’s never that easy 321Garbage mattes 321Core Matte 322Edge Key 323Use separate Settings on different Areas of the Image 324Fine-tuning your Key 325Sharpen the Composite Image 326Blur the Edge 328Light Wrap 329Matching color 333What have we achieved with all this? 335

8 Foreword

Now match everything else 335Ultra Key Tips 339Third-party Plug-Ins 341Some good ones 341Cycore plug-ins in Premiere 342Compositing in AE 343Track Matte Workaround 343Composite in Linear Mode 343Choose the right Blur 344Premultiplied and Straight Alpha 345RAW Formats in VFX 345Free Green Screen Plates 345Current Bug with Adjustment Layers and Track Matte 346

Editing Tips & Techniques 347Random Time-saving Tips to boost your Editing 347

JKL on Steroids 347Other Keyboard Shortcuts and Modifiers 347Multi-Sequence Workflow Tips 350Nesting 352Un-Nesting 352Sometimes, Grouping is better 353Random Tips for Project Panel and Bins 353

Random Info about the Premiere Pro Timeline 354Preview Render Codec 354Audio Track Types 354Hide Keyframes in New Sequences 354Track Targeting and Source Patching Behavior 355Sync Lock Behavior 355Which Settings where? 356Making Selections 357Playback Resolution is stored per Sequence 357Allow current Tool to change Trim Type 357FX Badge Color Codes 358Navigating the Timeline 358Deleting multiple Gaps in a Track at once 359Adding Gaps 360Delete many Keyframes 360Copy/Paste Transitions to multiple Edit Points 360Working with Interlaced Footage 360Interlaced Footage in an Interlaced Sequence 361Progressive Footage in an Interlaced Sequence 361Psf Footage in Premiere 361Closed Captions 362

Moving, adjusting and swapping Clips 363Dragging Video and Audio to different Tracks 363What exactly are Three and Four Point Edits? 363Understanding Slip and Slide Edits 364Moving Clips 365

Rolling Edits 365Ripple Edits 365Extend Edits 366Lift and Extract 367Replace Edit 368Replace with Clip, Match Frame 369Shuffle Editing 369Get back missing Video or Audio 370Disable – don’t delete 370Trim with the Keyboard 371Trim Preferences 372Ripple Trim to Playhead 372Trim or Extend to Playhead 373Time-saving Trim Shortcuts 374Selecting Trim Points with the Mouse 374Dynamic Trimming 375

Juggling Frame Rates and Manipulating Time 376Freeze Frames 376Easy Fast and Slow Motion 377Change Duration of many Clips 377Rate Stretch Tool 377Mixing Frame Rates 378Time Remapping for variable Speed 378Removing the Time Remapping effect 380Time Remapping in the Effect Controls Panel 380Refine Time Remapping in After Effects 381Fit to fill 381Time Warp 381So what Method will give the best Slo-Mo? 382Some Shutter Speed Science 38324p Footage and Pulldown 38323.976 in 24 – and the other way around 384Removing Pulldown with After Effects 385

Working with Still Images 386Still Image Duration 387Large Stills and RAM 388Set your Rendering Preferences 388Still Image Flicker Removal 388Storyboarding a Still Image Sequence 389Pan & Scan Photo Montage 390

Working with Image Sequences 392Editing Time-Lapse Footage 394Editing Stop Motion Animation 397

Multi-Camera Editing 397Multi-Camera from Bin 397Camera Order 400Choose what to do with Audio 400Multi-Camera Audio Channels Preset 403

9The Cool Stuff in Premiere Pro

Create a Multi-Camera Source Sequence from scratch 403Flatten the Edit 407Manual Sync Offsets 407Multi-Camera Color Correction 408Multi-Camera instead of Merge Clips 408Multi-Camera Interview Editing 410Multi-Camera Cooking Show 410Multi-Camera Reality Shows 411Multi-Camera Performance 411Cut with Proxies, link to High-Res 412File Metadata and Proxies 413Quasi-Proxy Editing 413Random Multi-Camera Editing Tips 414Multi-Camera can be cut on all Tracks 414There is no “right” Way to cut Multi-Camera 417Multi-Camera Gotchas 418Match to Timecode – Poor Man’s Multi-Camera 418

Working with multiple Projects 419Multiple Media Browsers 419Open in Source Monitor 419Open in Timeline 419Disable writing Clip Markers to XMP 419

Customizing Premiere Pro 421Customization is all about Speed 421

Prepare to be amazed 421Sync Settings 421

Custom Workspaces and UI Tweaks 422Use Clever Names for Workspaces 423Hidden Secrets in Panel Menus 423Get Rid of the Button Row 424Icon View vs List View 424Make a Favorite Effects Bin 425Create Custom Presets in existing Effect Presets Bin 426Populate the Media Browser Favorites List 426Custom Metadata Columns in Media Browser 427Zoom your UI 427Custom Label Colors and Label Names 429Custom Label Keyboard Shortcuts 430Custom Track Heights 430Customize the Track Headers 434

Customize Metadata 434File Metadata vs Clip Metadata 435File Metadata can cause slow Back-Ups 435Metadata Preferences 435Link Clip Data to XMP Metadata 436Custom Metadata Fields and Schemas 436Manage Metadata Sets 437

Customize the Metadata View in Bins 437Metadata Display Settings saved with the Workspace 438Adding Metadata to Clips 438

Custom Project Templates 439Custom Start-Up Projects 439Audio Templates 440Custom Helper Projects 440Making a Self-Contained Template Project 441Using the Template Project 443Guidelines for Template Projects 444Share your Templates on PremierePro.net 444Sample Project: The Evening News 444Pre-Render Complex Stuff 446

Custom Preferences 446Custom Sequence Presets 448

Use a High-Quality Preview Codec 448Ready-Made Audio Routing 448Custom Frame Sizes 449Getting rid of Sequence Presets 449

Speed up your Preview Renders 450Invoke Smart Rendering to Speed up Your Exports 450Smart Rendering even with Non-Matching Material 451

Dig Deeper 451Custom Audio Mapping Presets 451Custom Audio Channel Mapping Presets 452Custom Source Channel Assignment Presets 453

Custom Title templates 454Kill the Default Title Templates 454Customized Title Templates 455Kill the Default Title Styles 456

Custom Title styles 456Custom Style Libraries 457Custom Characters in Title Styles 457About the Textures Folder 458Custom Default Still and Roll Templates 458

Custom Effect Presets 459Custom Multiple-Effects Presets 460Custom Keyframe Behavior Presets 461Custom Presets for the Master Track 463Now Share the Presets with Friends 463Download Jarle’s Presets 463

Custom Keyboard Shortcuts 464It’s the Grave Accent Key folks, not the Tilde Key 464Change Multi-Key Shortcuts to Single-Key Shortcuts 464Custom Transition Shortcuts 465Candidates for Replacement 466Searching for Shortcuts 467Useful Shortcuts you may not know (Windows) 467

10 Foreword

Some New Shortcuts I’ve made (Windows) 468A Shortcut for Find in Timeline 468Print a Spreadsheet of the Keyboard Shortcuts 469Print a PDF of the Default Keyboard Shortcuts 470Sharing the Custom Keyboard Shortcuts 470NRKs Custom Shortcuts 470

Custom Transition Presets 471Copy your favorite Transitions from a Sequence 471Custom Transitions using Adjustment Layers 471S-Curves on Your Cross Dissolves 472Camera Flash Transition 472The oh, so popular Glow and Blur Transition 474Swish Pan Transition 476Jarred Cuts 479Logos as Wipes 480Logo Reveals 481Organic Wipes with Gradient Wipe 482Now Explore the Possibilities 486

Custom Export Settings 487Avoid Long Lists and Minimize Errors 487Quality Controlled Exports Company Wide 487Better Quality H.264 Exports 488Export Your Preset 488Import Presets 488Transfer Your Files to YouTube while you sleep 489Add Effects to the Exported Video 489Closed Captions Export 489Custom Metadata Export 490

Custom Monitor Overlays 491Custom icons 492

How to create Custom Icons 493Custom Premiere Icons on a Mac OS System 493Custom Premiere Project Icons on a Windows System 493Custom Premiere Icons in Windows Quick Launch 494

Extreme Customization with XML 494Get Rid of the Factory Presets 494Re-Import Presets you want to keep 495Keep the Lens Distortion Removal Presets 495Ditch the Lumetri Presets too 495Need to Idiot-Proof a Preset? 495Custom Intrinsic Effects? 496Custom Editing Modes 496Custom Preview Codecs 497Using the Custom Preview Codecs 499Custom Meta Data Drop-Down List 499Fool Proof the Exports Presets Company Wide 501

The Console 502Custom Panels and Add-ons 503

Sample Panel: Pond5 503Sample Panel, MediaSilo’s Edit Companion 504Add-Ons 504Create your own Panels and Add-ons 505Even I can do it! 505

Now combine Techniques 505That’s it 506

Integration with other Adobe Software 507Premiere as your Editing Hub 507Dynamic Link 507

Dynamic Link Workflow 508Make a Copy before Dynamic Linking 509Dynamic Link Undo 509Copy/paste can save your Bacon 510Live After Effects Text Templates 510Control any After Effects Parameter from Premiere(!) 511Render and Replace 512Project Link 512Color Spaces and Adobe Dynamic Link 513Dynamic Link Gotchas 514Don’t overestimate your System 515

OK, so what can we use After Effects for? 515Animation that requires Motion Blur 515Noise Reduction 516Warp Stabilizer VFX 518RotoBrush 521Advanced Text Animation 5233D Camera 525Timewarp 526Ray traced 3D Shapes 5263D Camera Tracking 527Explore After Effects further on your own 529

Direct Link to SpeedGrade 529SpeedGrade Interface 530SpeedGrade Features not found in Premiere 531Direct Link Limitations 532Save Looks for use in Premiere 532Shot Matcher 533Matching the Colors of an Image 534Legalizing 534

Photoshop Magic 535Make PSD Files from Premiere Pro 535Edit Original in Photoshop 535Gotcha with layered PSD files 535Import Camera RAW Footage 536Video Clip Fixes with Photoshop 537

11The Cool Stuff in Premiere Pro

Spreadsheets to Lower Thirds 537Median Magic - making a Clean Plate in Photoshop 543More Photoshop Magic to come 546

Illustrator Vector Graphic Fixes 546Extracting Vector Graphics from PDF Files 546Resize Vector Graphics 548Isolate Elements to treat them separately 549Join Elements in Vector Files 550Trace Images into Vectors 550Make Vector Patterns 551Unlimited Scaling of Vector Graphics 552

Integration with Audition 552Auto-update Titles with InDesign 553Ingest with Adobe Prelude 553Adobe Story Workflow 556Adobe Anywhere 558Phew - that’s it! 558

Export 559CPU does the Encoding 559One GPU = fast Exports. Two GPUS = even faster 559What happens on what Processor during Export? 559Hide Banner on Warp Stabilizer 560

Preflight Checklist 560The Basics 560Close Gaps 560Check for Duplicate Frames 561Letterboxing 561Reduce Noise and Grain 562

Broadcast Safe Video Levels 563European DPP Delivery Standards 563Legalization is a Waste of useful Gamut 563Motion Graphics can cause illegal Levels 564Beware of the Sharpen Effect 564Strategies to make the Program Broadcast Safe 564Brute Force Methods for Broadcast Safe 564Manual Methods for Broadcast Safe 565How the Video Limiter works 567Forget Set-up 569

Broadcast Safe Audio Levels 569True Peak Level 570AS-11 Compliant Delivery 570

Understanding the Premiere Pro Export Dialog 571Make sure you see the Output, not the Source 571Use Preview Files for Export – or not? 572Render at Maximum Bit Depth 573Steve on Maximum Bit Depth 574

What is Maximum Render Quality? 575Steve on Maximum Render Quality 575Composite in Linear Color 576To sum up all this Max Quality and Bit-Depth Stuff 576Frame Blending 577Effects Settings 577FTP Export Settings 578Dear Adobe: There is no PAL or NTSC in HD 578Export and filter XMP Metadata 578

Smart Rendering 579Smart Rendering in a Cuts-only Sequence 579Smart Rendering Long-GOP 579Smart Rendering a Sequence with Effects 579Smart Rendering with Preview Renders 579Criteria for effective Smart Rendering 580Supported Codecs and Formats for Smart Rendering 580

Export to Intermediate and Archive File Formats 581Widely used Visually Lossless Codecs 581DNxHD 582ProRes 582GoPro Cineform 582Uncompressed DPX 583Visually Lossless MPEG-2 584AVC Intra and XAVC 584Grass Valley HQX Codec 585

Multi-Channel Audio output 585Digital Cinema Package Export 585

Conforming 25p to 24p in Premiere 587Conforming 23.976p to 24p in Premiere 589DCP Subtitlling Tools 589Checking your DCP 590

Golden Rules for good H.264 Compressions 590Few Touches 591How low can you go? 591Half the Frame Size can be better 591VBR beats CBR, especially at low Bitrates 591Ban Non-Square Pixels and Interlacing 592Audio matters – a lot 592H.264 for the rest of us 592H.264 Profiles 592H.264 Levels 593Need more Control over the H.264 Export? 593

Export to Vimeo, YouTube etc. 594Publish to your YouTube Channel automatically 5944k H.264 596

Alternatives to H.264 596H.265 - HEVC 596WebM 597

12 Foreword

Ogg Vorbis and Ogg Theora 597Still image export 597

Beware of Non-Square Pixels 598Forget about DPI 598

Export to tape 599Making dailies 599Common Export Gotcha’s 600

Wrong Frame Rate 600Pillar Boxes and Letter Boxes 600Error Compiling Movie 600Use and share your Export Presets 601

Shiny Disc Export 602Add Chapter Markers 603Export to DVD Formats 603In Encore CS6 604Make a DVD Menu 605

Set your End Action 605Name the DVD 605Add Subtitles 606Check the DVD with the Flowchart 606Preview the DVD 607ADD DVD-ROM Content 607Build a DVD Folder 608Save DVD Image and burn DVD 608No Guarantees for Playback 608DDP Image output 609Dual Layer DVDs 609Encore Video Tutorials 609

Afterword 611Now what? 611