Video Encoding Settings
- Adobe Premiere Pro User Guide
- Beta releases
- Getting started
- Hardware and operating system requirements
- Creating projects
- Workspaces and workflows
- Import media
- Importing from Avid or Final Cut
- File formats
- Working with timecode
- Edit video
- Create and change sequences
- Set In and Out points in the Source Monitor
- Add clips to sequences
- Rearrange and move clips
- Find, select, and group clips in a sequence
- Remove clips from a sequence
- Change sequence settings
- Edit from sequences loaded into the Source Monitor
- Simplify sequences
- Rendering and previewing sequences
- Working with markers
- Source patching and track targeting
- Scene edit detection
- Cut and trim clips
- Overview of audio in Premiere Pro
- Edit audio clips in the Source Monitor
- Audio Auto-Tagging
- Audio Track Mixer
- Adjusting volume levels
- Edit, repair, and improve audio using Essential Sound panel
- Automatically duck audio
- Remix audio
- Monitor clip volume and pan using Audio Clip Mixer
- Audio balancing and panning
- Advanced Audio - Submixes, downmixing, and routing
- Audio effects and transitions
- Working with audio transitions
- Apply effects to audio
- Measure audio using the Loudness Radar effect
- Recording audio mixes
- Editing audio in the timeline
- Audio channel mapping in Premiere Pro
- Use Adobe Stock audio in Premiere Pro
- Overview of audio in Premiere Pro
- Text-Based Editing
- Advanced editing
- Best Practices
- Video Effects and Transitions
- Overview of video effects and transitions
- Titles, Graphics, and Captions
- Overview of the Essential Graphics panel
- Create a shape
- Draw with the Pen tool
- Align and distribute objects
- Change the appearance of text and shapes
- Apply gradients
- Add Responsive Design features to your graphics
- Install and use Motion Graphics templates
- Replace images or videos in Motion Graphics templates
- Use data-driven Motion Graphics templates
- Best Practices: Faster graphics workflows
- Retiring the Legacy Titler FAQs
- Upgrade Legacy titles to Source Graphics
- Animation and Keyframing
- Color Correction and Grading
- Overview: Color workflows in Premiere Pro
- Color Settings
- Auto Color
- Get creative with color using Lumetri looks
- Adjust color using RGB and Hue Saturation Curves
- Correct and match colors between shots
- Using HSL Secondary controls in the Lumetri Color panel
- Create vignettes
- Looks and LUTs
- Lumetri scopes
- Display Color Management
- Timeline tone mapping
- HDR for broadcasters
- Enable DirectX HDR support
- Exporting media
- Export video
- Export Preset Manager
- Workflow and overview for exporting
- Quick export
- Exporting for the Web and mobile devices
- Export a still image
- Exporting projects for other applications
- Exporting OMF files for Pro Tools
- Export to Panasonic P2 format
- Export settings
- Best Practices: Export faster
- Collaborative editing
- Collaboration in Premiere Pro
- Get started with collaborative video editing
- Create Team Projects
- Add and manage media in Team Projects
- Invite and manage collaborators
- Share and manage changes with collaborators
- View auto saves and versions of Team Projects
- Manage Team Projects
- Linked Team Projects
- Frequently asked questions
- Long form and Episodic workflows
- Working with other Adobe applications
- Organizing and Managing Assets
- Working in the Project panel
- Organize assets in the Project panel
- Playing assets
- Search assets
- Creative Cloud Libraries
- Sync Settings in Premiere Pro
- Consolidate, transcode, and archive projects
- Managing metadata
- Best Practices
- Working in the Project panel
- Improving Performance and Troubleshooting
- Set preferences
- Reset and restore preferences
- Recovery Mode
- Working with Proxies
- Check if your system is compatible with Premiere Pro
- Premiere Pro for Apple silicon
- Eliminate flicker
- Interlacing and field order
- Smart rendering
- Control surface support
- Best Practices: Working with native formats
- Knowledge Base
- Known issues
- Fixed issues
- Fix Premiere Pro crash issues
- Unable to migrate settings after updating Premiere Pro
- Green and pink video in Premiere Pro or Premiere Rush
- How do I manage the Media Cache in Premiere Pro?
- Fix errors when rendering or exporting
- Troubleshoot issues related to playback and performance in Premiere Pro
- Extensions and plugins
- Video and audio streaming
- Monitoring Assets and Offline Media
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.
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
For XAVC Intra file formats, use the Export Color Space dropdown menu instead of the old Hybrid Log Gamma checkbox.
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.
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.
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.
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.
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.
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.
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.