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Video Encoding Settings

  1. Adobe Premiere Pro User Guide
  2. Beta releases
    1. Beta Program Overview
    2. Premiere Pro Beta Home
  3. Getting started
    1. Get started with Adobe Premiere Pro
    2. What's new in Premiere Pro
    3. Release Notes | Premiere Pro
    4. Keyboard shortcuts in Premiere Pro
    5. Accessibility in Premiere Pro
    6. Long Form and Episodic Workflow Guide
  4. Hardware and operating system requirements
    1. Hardware recommendations
    2. System requirements
    3. GPU and GPU Driver requirements
    4. GPU Accelerated Rendering & Hardware Encoding/Decoding
  5. Creating projects
    1. Start a new project
    2. Open projects
    3. Move and delete projects
    4. Work with multiple open projects
    5. Work with Project Shortcuts
    6. Backward compatibility of Premiere Pro projects
    7. Open and edit Premiere Rush projects in Premiere Pro
    8. Best Practices: Create your own project templates
  6. Workspaces and workflows
    1. Workspaces
    2. FAQ | Import and export in Premiere Pro
    3. Working with Panels
    4. Windows touch and gesture controls
    5. Use Premiere Pro in a dual-monitor setup
  7. Capturing and importing
    1. Capturing
      1. Capturing and digitizing footage
      2. Capturing HD, DV, or HDV video
      3. Batch capturing and recapturing
      4. Setting up your system for HD, DV, or HDV capture
    2. Importing
      1. Transfer files
      2. Importing still images
      3. Importing digital audio
    3. Importing from Avid or Final Cut
      1. Importing AAF project files from Avid Media Composer
      2. Importing XML project files from Final Cut Pro 7 and Final Cut Pro X
    4. Supported file formats
    5. Digitizing analog video
    6. Working with timecode
  8. Editing
    1. Sequences
      1. Create and change sequences
      2. Add clips to sequences
      3. Rearrange clips in a sequence
      4. Find, select, and group clips in a sequence
      5. Edit from sequences loaded into the Source Monitor
      6. Simplify sequences
      7. Rendering and previewing sequences
      8. Working with markers
      9. Source patching and track targeting
      10. Scene edit detection
    2. Video
      1. Create and play clips
      2. Trimming clips
      3. Synchronizing audio and video with Merge Clips
      4. Render and replace media
      5. Undo, history, and events
      6. Freeze and hold frames
      7. Working with aspect ratios
    3. Audio
      1. Overview of audio in Premiere Pro
      2. Audio Track Mixer
      3. Adjusting volume levels
      4. Edit, repair, and improve audio using Essential Sound panel
      5. Automatically duck audio
      6. Remix audio
      7. Monitor clip volume and pan using Audio Clip Mixer
      8. Audio balancing and panning
      9. Advanced Audio - Submixes, downmixing, and routing
      10. Audio effects and transitions
      11. Working with audio transitions
      12. Apply effects to audio
      13. Measure audio using the Loudness Radar effect
      14. Recording audio mixes
      15. Editing audio in the timeline
      16. Audio channel mapping in Premiere Pro
      17. Use Adobe Stock audio in Premiere Pro
    4. Advanced editing
      1. Multi-camera editing workflow
      2. Set up and use Head Mounted Display for immersive video in Premiere Pro
      3. Editing VR
    5. Best Practices
      1. Best Practices: Mix audio faster
      2. Best Practices: Editing efficiently
      3. Editing workflows for feature films
  9. Video Effects and Transitions
    1. Overview of video effects and transitions
    2. Effects
      1. Types of effects in Premiere Pro
      2. Apply and remove effects
      3. Effect presets
      4. Automatically reframe video for different social media channels
      5. Color correction effects
      6. Change duration and speed of clips
      7. Adjustment Layers
      8. Stabilize footage
    3. Transitions
      1. Applying transitions in Premiere Pro
      2. Modifying and customizing transitions
      3. Morph Cut
  10. Titles, Graphics, and Captions    
    1. Overview of the Essential Graphics panel
    2. Titles
      1. Create a title
    3. Graphics
      1. Create a shape
      2. Align and distribute objects
      3. Apply gradients
      4. Add Responsive Design features to your graphics
      5. Install and use Motion Graphics templates
      6. Replace images or videos in Motion Graphics templates
      7. Use data-driven Motion Graphics templates
    4. Captions
      1. Speech to Text
      2. Working with captions
      3. Check spelling and Find and Replace
      4. Export text
      5. Speech to Text in Premiere Pro | FAQ
    5. Best Practices: Faster graphics workflows
    6. Retiring the Legacy Titler in Premiere Pro | FAQ
    7. Upgrade Legacy titles to Source Graphics
  11. Animation and Keyframing
    1. Adding, navigating, and setting keyframes
    2. Animating effects
    3. Use Motion effect to edit and animate clips
    4. Optimize keyframe automation
    5. Moving and copying keyframes
    6. Viewing and adjusting effects and keyframes
  12. Compositing
    1. Compositing, alpha channels, and adjusting clip opacity
    2. Masking and tracking
    3. Blending modes
  13. Color Correction and Grading
    1. Overview: Color workflows in Premiere Pro
    2. Auto Color
    3. Get creative with color using Lumetri looks
    4. Adjust color using RGB and Hue Saturation Curves
    5. Correct and match colors between shots
    6. Using HSL Secondary controls in the Lumetri Color panel
    7. Create vignettes
    8. Looks and LUTs
    9. Lumetri scopes
    10. Display Color Management
    11. HDR for broadcasters
    12. Enable DirectX HDR support
  14. Exporting media
    1. Export video
    2. Export Preset Manager
    3. Workflow and overview for exporting
    4. Quick export
    5. Exporting for the Web and mobile devices
    6. Export a still image
    7. Exporting projects for other applications
    8. Exporting OMF files for Pro Tools
    9. Export to Panasonic P2 format
    10. Export settings
      1. Export settings reference
      2. Basic Video Settings
      3. Encoding Settings
    11. Best Practices: Export faster
  15. Collaboration: Frame.io, Productions, and Team Projects
    1. Collaboration in Premiere Pro
    2. Frame.io
      1. Install and activate Frame.io
      2. Use Frame.io with Premiere Pro and After Effects
      3. Frequently asked questions
    3. Productions
      1. Using Productions
      2. How clips work across projects in a Production
      3. Best Practices: Working with Productions
    4. Team Projects
      1. Get started with Team Projects
      2. Create a Team Project
      3. Add and manage media in Team Projects
      4. Collaborate with Team Projects
      5. Share and manage changes with Team Project collaborators
      6. Archive, restore, or delete Team Projects
  16. Working with other Adobe applications
    1. After Effects and Photoshop
    2. Dynamic Link
    3. Audition
    4. Prelude
  17. Organizing and Managing Assets
    1. Working in the Project panel
    2. Organize assets in the Project panel
    3. Playing assets
    4. Search assets
    5. Creative Cloud Libraries
    6. Sync Settings in Premiere Pro
    7. Consolidate, transcode, and archive projects
    8. Managing metadata
    9. Best Practices
      1. Best Practices: Learning from broadcast production
      2. Best Practices: Working with native formats
  18. Improving Performance and Troubleshooting
    1. Set preferences
    2. Reset preferences
    3. Working with Proxies
      1. Proxy overview
      2. Ingest and Proxy Workflow
    4. Check if your system is compatible with Premiere Pro
    5. Premiere Pro for Apple silicon
    6. Eliminate flicker
    7. Interlacing and field order
    8. Smart rendering
    9. Control surface support
    10. Best Practices: Working with native formats
    11. Knowledge Base
      1. Known issues
      2. Fixed issues
      3. Fix Premiere Pro crash issues
      4. Green and pink video in Premiere Pro or Premiere Rush
      5. How do I manage the Media Cache in Premiere Pro?
      6. Fix errors when rendering or exporting
      7. Troubleshoot issues related to playback and performance in Premiere Pro
  19. Monitoring Assets and Offline Media
    1. Monitoring assets
      1. Using the Source Monitor and Program Monitor
      2. Using the Reference Monitor
    2. Offline media
      1. Working with offline clips
      2. Creating clips for offline editing
      3. Relinking offline medInstia

You can prepare the video for output by specifying preferred formats.

Find the setting you are looking for


(H.264 and HEVC only) – Hardware Accelerated is the default choice, which tells Premiere Pro to use available hardware on your system to speed up encoding times.

  • Hardware acceleration depends on your system’s configuration.
  • If your system does not support certain export settings, the Performance menu switches automatically to Software Only.


Common h.264 profiles include:

  • Baseline – The simplest profile used by video conferencing and similar devices that require fast decoding speeds.
  • Main – A common profile used primarily in SD broadcasting.
  • High – A widely supported profile used by most HD devices.
  • High10 – An extension of the High profile that supports 10 bit decoding.


Limits the range of choices available for Frame Size, Frame Rate, Field Order, Aspect, bit rate, chroma, and other compression settings. Generally speaking, higher-level settings support larger video resolutions.


If you’re unsure which Profile and Level to use, enable Match Source to have Premiere Pro choose the best setting based on the properties of your source media.

Export Color Space

The color space used for the exported file.  Defaults to Rec. 709 for most presets.

Note: For some formats, you’ll need to enable other export controls to access additional Export Color Space choices:

  • H.264: Set Profile to High 10
  • HEVC (H.265): Set Profile to Main 10
  • QuickTime - Apple ProRes: Enable Render at Maximum Depth checkbox

HDR Graphics White (Nits)

HDR Graphics White describes the target luminance for the appearance of a solid white color in an HDR scene. Since HDR can be much brighter than SDR, recommendations on luminance have been established based on viewer comfort.

HDR Graphics White is also sometimes referred to as Diffuse White. For camera exposure in HLG production, ITU recommends exposing cameras so that a white card hits the 75% IRE mark on the waveform. This leaves room for specular highlights to go above that and yields an image that is not too bright to look at comfortably.

Solid white graphics elements, like text, should be set to 75% of the HLG signal as well: this is where the setting gets its name, Graphics White. If you set white text at 100% luminance (1,000 nits for HLG or 10,000 nits for PQ), this may result in uncomfortable brightness levels for the viewer.

Include HDR10 Metadata

HDR10 uses the PQ transfer function and adds five pieces of metadata. These are user-entered values; no content analysis is performed. The purpose of this metadata is to provide the HDR playback device with details about your content so that it can be displayed properly and look its best.

Color Primaries

This is the color gamut of the HDR monitor used while grading your content. Obtain this value by reading the technical specifications for your monitor. It has a drop-down list with three options. The possible values are: Rec.709, P3D65 (default), Rec. 2020.

Luminance Min (cd/m^2)

This is the minimum capable luminance of the HDR monitor used while grading your content. Obtain this number by reading the technical specifications for your monitor. This is a numerical input with scrubbable hot-text. The default value is 0.0050. The range is 0.0005 - 0.05.

Luminance Max (cd/m^2)

This is the maximum capable luminance of the HDR monitor used while grading your content. Obtain this number by reading the technical specifications for your monitor. This is a numerical input with scrubbable hot-text. The default value is 1000. The range is 100 - 4000.

Maximum (cd/m^2)

This is the maximum luminance of the content in your program. Enter the luminance of the brightest part of your program. While the HDR10 standard accounts for luminance ranges all the way up to 10,000 nits, there are no consumer panels that can deliver this brightness. It is generally recommended to keep the luminance for HDR10 content at or below 4000 nits. The HDR display will use this value to tone map your program into the range of the display so no highlights are clipped. It is the maximum level of light. It is similar to Luminance Max. 

Average (cd/m^2)

It is the maximum average level of light per frame. The HDR display will use this value to tone map your program into the range of the display so your program looks the same as when you were mastering it. This value can significantly alter the appearance of your content and it is recommended to test playback on the intended display to be sure everything looks as you intend.

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