This article describes the new and changed features in Adobe Media Encoder CC release in Oct 2013 and Dec 2013.
See the new features summary (June 2013) for information on changes in the Adobe Media Encoder CC June 2013 release.
- The Adobe Media Encoder CC (Dec 2013) release supports Dolby Digital Plus audio encoding through SurCode. This new option is available in any H.264 and MPEG-2 encoders. Set the multiplexer option to "MP4", "TS", or "None". Note that Dolby Digital Plus audio is for external use only. For now, no Adobe application can import this format.
- H.264 export now allows you to multiplex MP3 and Dolby audio in addition to AAC audio. In previous releases, you could only multiplex AAC audio.
- Vimeo presets are now set to use 48kHz audio per Vimeo's recommended specifications.
- Presets synced to the cloud now show a CC icon in the Preset Browser, which differentiates them from presets saved locally.
As of September 15 2017, Adobe Creative Cloud applications now rely on your operating system (OS) to decode/encode Dolby Digital and Dolby Digital Plus audio formats. Adobe no longer bundles the native libraries from Dolby with Creative Cloud products.
For information about how this change affects Dolby audio playback in your product, see Adobe Creative Cloud apps use native OS support for Dolby.
Overview of the latest updates in Adobe Media Encoder CC (Oct 2013)
The export performance of MXF OP1a AVCI has been greatly improved. Adobe Media Encoder now uses the MainConcept AVCI codec for this format and as a result the files are rendered faster. The following options have been added:
- AVCI100 1080p50
- AVCI100 1080p60
- XAVC Intra HD (1020x1080)
- XAVC Intra 4K(3840x2160)
- XAVC Intra 4K(4096x2160)
All of the above formats can be exported using smart rendering. For more information about smart rendering, see this Premiere Pro article.
Adobe Media Encoder now takes advantage of GPU for rendering purposes. Both CUDA and OpenCL are supported. The latest release of Adobe Media Encoder uses the GPU for the following renders:
- Scaling (HD to SD; SD to HD)
- Timecode filter
- Pixel format conversions
- Aspect ratio changes
- All effects in the Effects tab
- GPU accelerated effects in Premiere Pro
If you are rendering a Premiere Pro sequence, Adobe Media Encoder will use the GPU render preference you have set for the project. All GPU rendering capabilities of Premiere Pro are utilized. The limited set of GPU renderable tasks in Adobe Media Encoder is only for renders that originate in Adobe Media Encoder.
If you are rendering a sequence with native sequence support, the GPU setting in Adobe Media Encoder is used and the project setting is ignored. In this case, all GPU rendering capabilities of Premiere Pro are utilized directly in Adobe Media Encoder.
If your project uses 3rd party VSTs (Virtual Studio plugins), the GPU setting in the project is used. The sequence is encoded through headless Premiere Pro just as in earlier versions of Adobe Media Encoder. If Enable Native Premiere Pro Sequence Import option is unchecked, headless Premiere Pro will always be used and the GPU setting is used.
DNxHD MXF OP 1a presets have been renamed to better align with how Avid resolutions are named in other applications. Due to this change, DNxHD presets imported from previous versions of Adobe Media Encoder CC may not match the newer versions.
Frame rates that are set lower than the default rate within the Interpret Footage dialog box now properly render a smooth succession of frames. Earlier versions of Adobe Media Encoder would improperly repeat the last frame to fill the end of the clip.
Adobe Media Encoder now loads Premiere Pro and Prelude projects natively which means that the headless version of Premiere Pro is not required and also the projects are loaded faster. Use this default option when you want to import a Premiere Pro sequence comprising of Red(.r3d)files that are stored on a Red Rocket card into Adobe Media Encoder.
Red Rocket can be used by only one application at a time.
If a Premiere Pro sequence contains offline media, you will be notified before encoding begins. Offline media cannot be relinked using Adobe Media Encoder. If your project has offline media, relink it in Premiere Pro before importing it in Adobe Media Encoder.
Final Cut Pro (FCP) XML files can now be imported in Adobe Media Encoder. There is no mechanism for relinking the media. If you want to relink the media, open the project in Premiere Pro first.
FCP XML files from FCPX are different from the original FCP XML files and are not imported at this time.
Adobe Media Encoder now supports Sync Settings, a feature found in several Creative Cloud applications including Adobe Premiere Pro and After Effects. If you work on Creative Cloud applications on two machines, you probably want to maintain the same application settings on both your machines. Through the Sync Settings feature, you can upload the settings to your Creative Cloud account from one machine and download and apply them on your second machine.
The following settings can be synced to the Creative Cloud:
- Application Preferences
- Workspace Layout
- Keyboard Shortcuts
- User Presets
See the Sync Settings in Adobe Media Encoder article for detailed information.
The following new effects have been added to the Effects tab in the Export Settings dialog box:
- Lumetri Look (SpeedGrade .look and LUT)
- Image Overlay
- Name Overlay
- Timecode Overlay
Effect settings are automatically included in presets unless you disable the Save Effect Settings checkbox when saving a preset. GPU acceleration helps to speed up all the new effects.
The Effects tab replaces the Filters tab found in previous versions of Adobe Media Encoder. The Gaussian Blur filter has also been removed.
See the article on Effects settings for detailed information about each of the effects.