Update to Adobe Media Encoder CC available.
For more information, see the New features summary.
Adobe Media Encoder can now be installed independently of other Adobe applications. This document describes the new and updated features, including the new AS-11 workflow, in the June 2014 release of Adobe Media Encoder CC.
The latest release of Adobe Media Encoder has two new video publishing destinations, YouTube and Vimeo. The new destinations are located under the Publish tab in the Export Settings dialog box.
Log in to YouTube and Vimeo with your username and password to upload your encoded files to these destinations.
For more information about the settings available for uploading a file to YouTube and Vimeo destinations, see the Publish settings section.
In the previous release of Adobe Media Encoder, there was a mismatch between the GoPro CineForm presets and their bit depth settings. The presets have been renamed to better match their color channel and bit depth settings. The following presets are available for the GoPro CineForm codec:
For more information about the presets, see the GoPro CineForm codec section.
The speech-to-text functionality has been removed from the December 2014 release of Adobe Media Encoder CC, Premiere Pro CC, and Prelude CC.
Previous versions of Prelude CC linked movie clips with Adobe Story scripts, and then used Adobe Media Encoder for analysis of speech-to-text conversion accuracy. This workflow is no longer available in the latest release of Adobe Media Encoder CC.
However, the speech-to-text feature is still available in the previous versions of Adobe Media Encoder CC. To continue to use this feature, use an earlier version of Adobe Premiere Pro or Prelude to generate the speech-to-text metadata.
If you already have sources with speech-to-text metadata generated using earlier versions of Premiere Pro or Prelude, you can continue to use it in the same way as before in the latest version of Adobe Media Encoder.
To include the speech-to-text metadata in Adobe Media Encoder when exporting the files:
See the Speech Analysis article for detailed information about the removal of this feature in Premiere Pro.
When you export files to the Waveform Audio format, you can now export each channel as a separate mono file.
There is a new preference Export each channel as a separate audio file in the Export Settings dialog box.
When you select an uncompressed audio codec in the Waveform Audio format, and check the new preference, each channel from the multichannel encoding is exported into a separate mono file. For example, when you export a 4ch audio with this option enabled, you will get four separate mono files, instead of one file containing all four channels.
See the Audio settings section under Export Settings article for information about the different audio settings in Adobe Media Encoder.
Upload files directly to Creative Cloud with the latest release of Adobe Media Encoder. Automatically encode After Effects, Premiere Pro, and FCP XML files using the Watch Folder, learn about the new QuickTime and DCP presets, and multiplex files while encoding. Read on for detailed information about the latest updates and improvements in Adobe Media Encoder CC.
You can now import and automatically encode After Effects, Premiere Pro, and Final Cut Pro (FCP) XML projects into Adobe Media Encoder using watch folders. You can also import a file that you have created via scripting provided the XML structure is valid.
If you move your project to a watch folder location, links to associated media can get broken especially if your watch folder is on a network drive. Ensure that the system running Media Encoder is able to find all of the project's media. You can also place a shortcut to your project file in the watch folder instead of moving the actual project file.
For more information about Watch folders in Adobe Media Encoder, see the Watch folder section.
When exporting video files in H.264, MPEG-2, or QuickTime format, Adobe Media Encoder allows you to automatically match the video settings of the source file using Match Source presets. Match Source functionality has been expanded to the QuickTime, MXF OP1a, and DNxHD MXF OP1a formats. The October release of Adobe Media Encoder CC includes new Match Source presets that lets you easily apply the new settings.
DNxHD/MXF OP1a presets
The DNxHD/MXF OP1a presets function is a little different from the traditional match source behavior. There are no controls to do a match source on the specific parameters. Use these presets to simplify your workflow when you want to get your media into an MXF wrapper. You do not have to choose from any settings and can use this preset directly. The following source media are supported:
QuickTime codecs can now automatically match the parameters of your source file. You can apply a QuickTime preset and select Match Source from the Export Settings dialog.
If the destination codec does not support a specific value such as frame size, it will use the
For more information about Match Source presets, see the Match Source presets section.
Adobe Media Encoder can now multiplex MPEG-2 streams while encoding the source. Previously, multiplexing was handled in a separate step; a separate video and audio file was first created and then the individual files were multiplexed at the end of an encode. When handling larger files, this separate multiplexing process made it seem as though Adobe Media Encoder had frozen.
Multiplexing during encoding has the following advantages:
PCM audio format is not multiplexed during encode.
The preset names have been updated in the Adobe Media Encoder December 2014 release. See Updated preset names for GoPro ConeForm codec section.
There is a new GoPro Cineform codec available natively in a QuickTime wrapper that supports resolutions up to 4K and includes alpha channel support.
There are three new GoPro CineForm Match Source presets that you can use with the QuickTime format:
The Video Codec setting is automatically set to GoPro CineForm when you select one of the GoPro CineForm presets.
Due to the frame size limitations, frame width sizes should be divisible by 16, and frame height sizes should be divisible by 8, regardless of bit depth. For example, the frame size of GoPro 2.7 is 2704x1524 and hence this is currently not supported as its width of 1524 results in a partial frame size of 95.25.
Uncheck the Frame Rate and Aspect ratio settings to edit the settings. For unsupported sizes such as GoPro 2.7K, change the resolution settings and down-scale to 1080,2K, or 4K or upscale to 6K.
Watch this video to learn about the GoPro CineForm intermediate codec designed for editing and post-production that allows for multiple encodes of the same material with minimal loss in quality.
For more information about video exports settings, see the Export Settings reference section.
The 2014.0.1 release of Adobe Media Encoder is focused on changes to presets including new higher resolution YouTube presets and improving overall quality of the output.
There is improved color calibration from QuVIS for BT709 workflows resulting in improvements in source color matching, color saturation, and increased detail in darker areas.
For more information, see the Wraptor DCP exporter section.
The user Preferences file and the Presets folder is now located in the Documents folder.
The following new YouTube presets have been added (with support for higher resolution presets):
The Target and Max bit rate of the new presets are higher resulting in higher-quality videos.
YouTube automatically re‐encodes all uploaded videos. Hence even if the 2‐pass encoding option is used (which results in higher quality), this quality is often lost in the final output. All videos are therefore switched to 1‐pass encoding which helps to reduce the overall encoding time.
The latest release of Adobe Media Encoder CC can be installed and uninstalled via the Creative Cloud, independently of other Adobe applications. Hence you do not need to install Premiere Pro, After Effects or any other Adobe application to get Adobe Media Encoder.
An independent installation of Adobe Media Encoder has the following advantages -
If you do not have Adobe Media Encoder already installed on your system, the application will be installed when you install Premiere Pro, After Effects, Prelude, or Flash.
To add to the wide range of encoding options present in Adobe Media Encoder, you can now create files based on the AS-11 UK DPP version 1.1 common delivery standard for the UK broadcasters.
The latest release of Adobe Media Encoder CC does not include Flash export capabilities, and you cannot export projects to FLV or F4V formats. There are no presets available for FLV and F4V files. See this blog for additional information.
Use previous versions of Adobe Media Encoder (version 7.2) if you want to export files to FLV and F4V formats.
You can however still import FLV and F4V files into Adobe Media Encoder.
As of September 15 2017, Adobe Creative Cloud apps 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.
There is a new preference, Indeterminate Media Timebase, under Edit > Preferences > Media that you can use to set the frame rate for sources without an inherent time base, such as image sequences.
When you run File > Sync Settings for the first time in Adobe Media Encoder CC, your preferences and presets from your previous Adobe Media Encoder versions (7.x) are imported.
For more information, see the Sync Settings article.
The Wraptor DCP (Digital Cinema Package) exporter by QuVIS is a fast and easy way to create DCP files for projection at digital theaters at 2K with 24fps and stereo or 5.1 audio.
Note the following points about the DCP exporter: