Exporting for the Web and mobile devices

  1. Adobe Premiere Pro User Guide
  2. Beta releases
    1. Beta Program Overview
    2. Premiere Pro Beta Home
    3. Features in Beta
      1. New import & export in Premiere Pro (Beta)
      2. FAQ | New import and export in Premiere Pro (Beta)
  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
  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. Creating projects
    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. Working with Panels
    3. Windows touch and gesture controls
    4. 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. Transferring and importing 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. 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. Editing, repairing and improving audio using Essential Sound panel
      5. Monitor clip volume and pan using Audio Clip Mixer
      6. Audio balancing and panning
      7. Advanced Audio - Submixes, downmixing, and routing
      8. Audio effects and transitions
      9. Working with audio transitions
      10. Apply effects to audio
      11. Measure audio using the Loudness Radar effect
      12. Recording audio mixes
      13. Editing audio in the timeline
      14. Audio channel mapping in Premiere Pro
      15. Use Adobe Stock audio in Premiere Pro
    4. Advanced editing
      1. Multi-camera editing workflow
      2. Editing workflows for feature films
      3. Set up and use Head Mounted Display for immersive video in Premiere Pro
      4. Editing VR
    5. Best Practices
      1. Best Practices: Mix audio faster
      2. Best Practices: Editing efficiently
  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. Graphics, Titles, and Animation
    1. Graphics and titles
      1. Create titles and motion graphics
      2. Applying text gradients in Premiere Pro
      3. Using Motion Graphics templates for titles
      4. Replace images or videos in Motion Graphics templates
      5. Use data-driven Motion Graphics templates
      6. Best Practices: Faster graphics workflows
      7. Add Responsive Design features to your graphics
      8. Working with captions
      9. Speech to Text
      10. Speech to Text in Premiere Pro | FAQ
      11. Upgrade Legacy titles to Source Graphics
    2. 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
  11. Compositing
    1. Compositing, alpha channels, and adjusting clip opacity
    2. Masking and tracking
    3. Blending modes
  12. Color Correction and Grading
    1. Overview: Color workflows in Premiere Pro
    2. Get creative with color using Lumetri looks
    3. Adjust color using RBG and Hue Saturation Curves
    4. Correct and match colors between shots
    5. Using HSL Secondary controls in the Lumetri Color panel
    6. Create vignettes
    7. Looks and LUTs
    8. Lumetri scopes
    9. Display Color Management
    10. HDR for broadcasters
    11. Enable DirectX HDR support
  13. Exporting media
    1. Workflow and overview for exporting
    2. Quick export
    3. Exporting for the Web and mobile devices
    4. Export a still image
    5. Exporting projects for other applications
    6. Exporting OMF files for Pro Tools
    7. Export to Panasonic P2 format
    8. Exporting to DVD or Blu-ray Disc
    9. Best Practices: Export faster
  14. Working with other Adobe applications
    1. After Effects and Photoshop
    2. Dynamic Link
    3. Audition
    4. Prelude
  15. 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. Using Productions
    8. How clips work across projects in a Production
    9. Consolidate, transcode, and archive projects
    10. Managing metadata
    11. Best Practices
      1. Best Practices: Working with Productions
      2. Best Practices: Learning from broadcast production
      3. Best Practices: Working with native formats
  16. 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. Green and pink video in Premiere Pro or Premiere Rush
      2. How do I manage the Media Cache in Premiere Pro?
      3. Fix errors when rendering or exporting
      4. Troubleshoot issues related to playback and performance in Premiere Pro
  17. 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 media


Adobe Premiere Pro lets you easily create videos that can be exported to the Web or to mobile devices.

To export your project, click on the sequence and select File > Export > Media.

In the Export Settings dialog box, you can choose the most optimal file format, frame size, bit rate or ready-made presets for faster upload time and better playback quality.

Here are a few tips to help you choose the most optimal settings.

Tips for creating video for the Web

Follow these guidelines to deliver the best quality video for broadcast over the Web.

Know your audience data rate

When you deliver video over the Internet, produce files at lower data rates. Users with fast Internet connections can view the files with little or no delay for loading, but dial‑up users must wait for files to download. Make the clips short to keep the download times within acceptable limits for dial‑up users.

Select the proper frame rate

Frame rate indicates frames per second (fps). If you have a higher data rate clip, a lower frame rate can improve playback through limited bandwidth. For example, if you compress a clip with little motion, cutting the frame rate in half can save you only 20% of the data rate. However, if you compress high-motion video, reducing the frame rate has a much greater effect on the data rate.

Because video looks much better at native frame rates, leave the frame rate high if your delivery channels and playback platforms allow. For web delivery, get this detail from your hosting service. For mobile devices, use the device-specific encoding presets and the device emulator available through Adobe Media Encoder in Premiere Pro. If reducing the frame rate, the best results come from dividing the frame rate by whole numbers.

Select a frame size that fits your data rate and frame aspect ratio

At a given data rate (connection speed), increasing the frame size decreases video quality. When you select the frame size for your encoding settings, consider frame rate, source material, and personal preferences. To prevent pillarboxing, choose a frame size of the same aspect ratio as the frame aspect ratio of your source footage. For example, pillarboxing results when you encode NTSC footage to a PAL frame size.

Cover progressive download times

Learn how long it takes to download enough of your video so that it can play to the end without pausing to finish downloading. While the first part of your video clip downloads, you can display other content that disguises the download. For short clips, use the following formula: Pause = download time - play time + 10% of play time. For example, if your clip is 30 seconds long and it takes 1 minute to download, give your clip a 33‑second buffer. The applied formula is 60 seconds - 30 seconds + 3 seconds = 33 seconds.

Remove noise and interlacing

For the best encoding, remove noise and interlacing.

The higher the quality of the original, the better the final result. Frame rates and sizes of Internet video are smaller than frame rates and sizes of television video. However, computer monitors typically have color fidelity, saturation, sharpness, and resolution at least as good as high-definition televisions. Even with a small window, image quality can be as important for digital video as for HDTV. Artifacts and noise are at least as obvious on a computer screen as on a television screen.

Follow the same guidelines for audio

The same considerations apply to audio production as to video production. To achieve good audio compression, begin with clean audio. If your project contains audio from a CD, transfer the audio files directly from the CD to your hard disk. Do not record the sound through the analog input of your sound card. The sound card introduces an unnecessary digital-to-analog and analog-to-digital conversion that can create noise in your source audio. Direct digital transfer tools are available for Windows and Macintosh® platforms. To record from an analog source, use the highest-quality sound card available.

Tips for creating video for mobile devices

You can export a sequence for use on Apple iPods, 3GPP cell phones, Sony PSPs, or other mobile devices. In Export Settings, select an H.264 format preset made for the target device.

FAQ: "How do I export a movie for YouTube, Vimeo, iPad, iPhone, Apple TV?"

Use these tips when shooting content for mobile devices:

  • Tight shots are better. Try to keep the subject separated from the background; the colors and values between background and subject should not be too similar.

  • Be aware of lighting. Poor lighting is a greater problem with mobile devices and can reduce visibility on small screens. Shoot and adjust with this limitation in mind.

  • Avoid excessive panning or rolling.

Use the following tips when editing video with Adobe Premiere Pro and After Effects:

  • Set the frame rate for the output movie according to output device or output type. For example, a commercial in After Effects might be rendered at 15 frames per second (fps) for distribution on mobile devices, but at 29.97 fps for broadcast television in the USA. In general, use a lower frame rate. A frame rate of 22 fps is a good compromise for reducing file size without losing quality
  • Make the movie as small as possible and remove any extraneous content, especially empty frames. Many actions can be done pre-encoding to limit file size. Some of them apply to shooting techniques, while others (for instance, using motion-stabilization tools in After Effects or applying a noise-reduction or blur effect) are post-production tasks that facilitate the compression portion of the encoder.

For tips on making movies smaller, see the online Help for After Effects and Adobe Premiere Pro.

  • Match the color palette to the correct mobile devices. Mobile devices, in general, have a limited color range. Previewing in Device Central can help determine if the colors used are optimal for an individual device or range of devices.

  • Adjust clips. Grayscale view is helpful to compare values.

  • Use the presets available in Adobe Media Encoder. Several presets are designed for export to 3GPP mobile devices in Adobe Media Encoder. 3GPP presets come in standard sizes: 176 x 144 (QCIF), 320 x 240, and 352 x 288.

  • Crop wisely. A common practice is to work at standard DV project settings and output to a combination of DV, DVD, Flash, WMV and mobile 3GPP. Use the usual presets, but at encoding time manage the difference between 4:3 or 16:9 video and the 11:9 aspect ratio of mobile 3GPP. The AME crop tool allows constraint to arbitrary proportions in the same manner as Photoshop's Crop tool and adds an 11:9 constraint preset to the existing 4:3 and 16:9.

  • Work at an aspect ratio consistent with mobile output. New project presets (available only on Windows) make this easy. The frame dimensions are larger than the ultimate output size (working at 176 x 144 can be difficult, for example, for titling), but they match the output-frame aspect ratio to facilitate easy encoding. Each Windows project preset renders to uncompressed video, but most computers can manage the data rate at these reduced frame sizes and halved frame rates. (This process is for projects where the only output is for mobile devices.) Two frame aspect ratios account for the majority of support in mobile devices: 4:3 (QVGA, VGA etc.) and 11:9 (CIF, QCIF, Sub‑QCIF). These two common project settings are included in the Adobe Media Encoder "Mobile & Presets" folder.

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