Adobe Media Encoder is your go-to application for all media processing requirements such as ingest, transcode, create proxies, and output to any format. With its tight integration with Adobe Premiere Pro CC, After Effects CC, and other applications, it provides a seamless media processing workflow for audio and video professionals.
Read on for a quick introduction to the list of new features, enhancements, and links to resources offering more information.
This release of Adobe Media Encoder offers general stability of the product and bug fixes. For a list of fixed issues in this release, refer to List of bug fixes in the Adobe Media Encoder CC.
This release of Adobe Media Encoder provides performance optimization to improve performance, stability, and consistency.
New in this release of Adobe Media Encoder CC Adobe Media Encoder supports hardware-accelerated H.264 encoding on Windows 10 with 6th generation or later Intel® Core™ processors and Intel Graphics enabled. It also supports hardware-accelerated H.264 and HEVC encoding on Mac OS 10.13 systems with supported hardware. For more information on hardware encoding settings, refer to Export settings reference for Media Encoder.
Note:
Hardware acceleration is not supported for mac ProRes with Intel GPU based systems.
Adobe Media Encoder supports the following new import formats:
- Canon C200 camera
- Sony Venice camera
- File support for MXF wrapped DV (Dalet)
- MPEG-1 Audio Layer II
This release of Adobe Media Encoder also supports RED camera Image Processing Pipeline [IPP2] and new Twitter limit of 280 characters. For more information on the list of formats supported in Adobe Media Encoder, refer to File formats supported for import with Media Encoder.
Adobe continuously aims to keep up with the most modern workflows and support formats and codecs broadly used across the professional film and video industry. As a result, future versions of Adobe Media Encoder, starting with version 12.1, will no longer support legacy QuickTime 7 era formats and codecs. Professional codecs typically found in QuickTime movie files, such as ProRes, DNxHD, and Animation, are not impacted by this change. These codecs are supported natively in Adobe Media Encoder.
For more information, see QuickTime 7 support has ended.
For detailed list of fixed issues in this release, refer to List of bug fixes in the Adobe Media Encoder CC.
For a list of known issues for this release, refer to Known issues in Adobe Media Encoder.
Note:
Account credentials for publishing destinations are now stored in Keychain (Mac) and Credential Manager (Windows). If you have already signed in to social media accounts in Adobe Media Encoder or Premiere Pro 12.0, you will need to sign in to these accounts again after upgrading to 12.1.
Your inputs are valuable to us and help us shape Adobe Media Encoder. You can now submit feature ideas and report bugs through the User Voice site: https://www.adobe.com/go/mediaencoder-uservoice
UserVoice works best when you file a single idea per submission, but feel free to file as many submissions as you’d like!
This release of Adobe Media Encoder provides support for the following new import formats:
- HEVC in MOV container (iPhone/iPad/Phantom)
- Variable Frame Rate in h.264 and h.265 containers
- ALEXA MINI (ARRIRAW in MXF container).
For more information on the list of formats supported in Adobe Media Encoder, refer File formats supported for import with Media Encoder.
For detailed list of fixed issues in this release, refer List of bug fixes in the Adobe Media Encoder CC.
This release of Adobe Media Encoder comes with a host of publishing improvements. Read on to know more about these features.
Adobe Media Encoder allows you to specify a channel when uploading to YouTube or Vimeo.
To learn more, see Specifying Channels in YouTube.
You can also specify a Playlist when uploading to YouTube. To learn more, see Specifying Channels in YouTube.
You can now choose a custom thumbnail for your YouTube videos. Select a frame from the source video or choose an external graphic to use as a custom thumbnail.
To learn more, see Specifying Channels in YouTube.
Using Adobe Media Encoder, you can specify a page from the list of all available pages for your Facebook account.
You can now use the title field to specify a custom title for your uploads and upload to YouTube, Facebook & Vimeo.
Mac users can also export to Animated GIF format. This feature was available only on Windows in the previous versions.
To learn more, see Files supported for export with Media Encoder.
Adobe Media Encoder features a new enhanced missing item notification. Sources and outputs with missing items show a Warning icon in the Queue. This warning allows you to correct any issues before starting to encode.
The list of Match Source presets has been enhanced and changed with Adobe Media Encoder.
- Adaptive Bit rate added to Match Source presets: There are three new Match Source presets for H.264 that automatically choose the best bit rate based on the Frame Size and Frame Rate of the source:
- Match Source – Adaptive High Bit rate
- Match Source – Adaptive Medium Bit rate
- Match Source – Adaptive Low Bit rate
- Streamlining of H.264 presets: To streamline redundant and outdated system presets for the H.264 exporter, some of the presets have been changed and enhanced.
- Broadcast>H.264 — Shorter list of presets that use Match Source for frame rate
- Devices>Mobile — Shorter list of generic device presets at common frame sizes
- VR>H.264 — Shorter list of VR presets set to Match Source
- Web Video>Social Media — A new Facebook preset that helps you upload for 1080p media
You can use the Skip Slates option that allows Time Tuner to ignore slates (a series of still images with a combined duration longer than ten seconds.)
To learn more, see Time Tuner.
Adobe Media Encoder uses a new font, "Adobe Clean" as a display font on Mac and Windows. Adobe Clean is the new standard display font for all digital video applications in Creative Cloud.
This release introduces Team Projects. Team Projects is a hosted service that lets editors and motion graphics artists work collaboratively in projects within Adobe Media Encoder, Prelude CC, Premiere Pro CC, and After Effects CC. This service adds deep collaboration features such as version history and smart conflict resolution. Post-production professionals can share their edits and get the latest changes from collaborators, allowing concurrent changes to happen on a single project. The feature is powerful for workflows where you can ingest clips in Prelude at the same time when visual effects and motion graphics are being done in After Effects and the edit is being refined in Premiere Pro.
Limitations:
- You cannot modify or share a production in AME; you can only encode Team Project assets within AME.
- To view your Team Project file in AME, ensure that you are logged in with an Enterprise or Team Project ID. You can be logged in to Creative Cloud, Premiere Pro, or other Adobe applications.
- When AME is installed as a stand-alone application on a clean system, you are prompted to log in. If you have Premiere Pro, After Effects, or other Adobe apps on the same system, AME uses those credentials.
For information on how to browse and render Team Projects in AME, see Working simultaneously in shared video projects.
This release introduces support assignment of custom color profiles for After Effects sources. You can now embed color profiles into JPEG files when exporting an After Effects composition.
Note:
This release only supports embedding of custom color profiles for JPEG exports.
For more information on support for color profiles, see Color management.
You can now automatically relink assets in a Premiere Pro project while moving them to another machine. Previously, when Media Encoder scouted for media files located relative to a project file path, those assets showed as Media Offline.
With the new enhancement, you can move your Premiere Pro projects and media files into a new location on a different computer. Relink can be done only if your assets retain the same relative path to the project. Once you move the project and media files, import the project file into Adobe Media Encoder and all media are automatically relinked.
This release introduces the ability to automatically upload exported videos to the Adobe Stock Contributor portal. Adobe Stock gives you millions of images, graphics, and videos built right into Photoshop, Illustrator, and all your favorite apps. For a seamless login from Adobe Media Encoder, ensure that you accept the terms at Adobe Stock.
For more information, see Export settings reference for Media Encoder.
This release introduces the ability to encode in Adobe Media Encoder and simultaneously playback or scrub in Premiere Pro. Earlier there was no option to prevent Adobe Media Encoder from pausing the queue when scrubbing or playing back media in Premiere Pro.
Note:
This feature works only if you queue to Adobe Media Encoder from the Export settings dialog box in Premiere Pro.
Note:
To prevent playback issues, ensure that your computer meets the system requirements, since Adobe Media Encoder is simultaneously encoding and writing to disk.
For more information on using the pause command, see Preferences.
This feature also:
- Eases understanding of the bit depth settings.
- Indicates when an alpha channel is rendered.
Note:
This feature is applicable to QuickTime exporter only.
For more information on this feature, see Export settings reference for Media Encoder.
You can now combine multiple assets into a single clip in AME. Users can edit the order of assets in the stitched clip after import.
For more information, see Stitching clips together using Adobe Media Encoder.
Behance has been added to Adobe Media Encoder’s extensive destination publishing workflow, joining other social media publishing options such as YouTube, Facebook, Vimeo, and Twitter. Now users can render and share videos directly to Behance from Adobe Media Encoder.
For more information, see Behance settings.
This option can be used for sources that contain an alpha channel. When this option is enabled, only the alpha channel gets rendered in the output video. A grayscale preview of the alpha channel is shown in the Output tab. This setting is useful when exporting to formats like MXF that don't support transparency information. You can use the alpha channel-only output to define transparent areas of your video in third-party applications.
Adobe Media Encoder now allows you to ingest media files from a camera onto a local drive so that you can quickly start editing in Premiere Pro.
For more information, see Using Ingest Presets with Media Encoder.
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