A project that has taken 1 hour to render before, will sometimes get to 10 hours of render time and still not be finished. This is the exact same file that I rendered before with the exact same settings in AME. goes from being rendered in 1 to basically never being rendered. I restart my computer several times. and eventually i'm able to render it under normal time. but is there something i can do to avoid all this regular troubleshooting. what is the source of my problem here?
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Why does media encoder slow down sometimes?
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Transcoding videos is much slower on my brand new HP z820 compared to my other cheaper/weaker computers, why??
Hellow everyone, this is my first post here, I really tried to surf the web and read a lot of articles about similar issues but never found out what's causing the problem.
First let me explain the workflow:
1- I am simply importing a 20 Gb avi file (MJPG codec) or a .mov file with H.264 codec or just any other full HD video file from either one of my three NASes or an external hard drive usb 3.0 into premier and wait for it to conform audioto directly into AME
2- I am applying absolutely no effect, im just changing the codec and format and downscaling, for insatnt i am applying the H264 format with YoTube 480p as preset.
3- Setting the destination to either my internal 1 TB hard drive (7200 rpm) or an external hard drive thorugh USB 3.0 or to one of my NASes (through Gigabit Ethernet interface)
The transcoding of a 45 mns episode is taking around 45 mn on my HP z820, while it is taking someting between 10-15 mns on my mac pro 2013 (approximatly same hardware specs as of my HP z820), on other i7 pc its taking around 27 mns. Whats happening!
I should mention that it is taking the same time when done on Premier Pro application
my HP z820 specs: Intel(R) Xeon (R) CPU E5-2630 @2.30 GHz 2.30 GHz, 16 GB DDR RAMs, 1 TB hard drive, Nvidia Quadro K600
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how to export 2176 x 608 video
I have a short video that is for diplay on a large floating billboard screen. Need to know if I am exporting correctly. Thank you!
Specs are:
2176 wide x 608 high, Frame rate: 29.97, Field order: Progressive, Aspect: Square Pixels
Export setting: Quicktime
Preset: Custom (tried using Match Source, but got an error indicating: That the source file's video stream is not compatible with this preset. Please choose a different preset_
Video Codec: Video
Message was edited by: Laura Tortoriello Getting the compile error above using these export settings.
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After Effects: Why does my background revert to black when I export?
For a recent project, I chose a deep red background, but when I exported it, it was black!
Thanks for any help.
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Black bars when downconverting HD to SD
I am trying to use Media Encoder CS5.5 downconvert a HD clip (1920 x 1080) to DV PAL anamorphic (720 x 576) .
However there only seem to be 2 choice for me in the export menu in terms of pixel aspect ratio.
By selecting D1/DV PAL, the exported clip is a 4:3 letterboxed video - which is not what I want.
By selecting D1/DV PAL widescreen, the exported clip is an almost-correct anamorphic video.
I say 'almost-correct' because there are narrow black bars on the left and right side of the exported clip.
The image below shows the preview of the exported clip (with black bars at the side)
Does anyone know the reason for the black bars at the sides? And how can I get rid of them.
Thanks.
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We are capturing jpeg images of 8mm film on one computer. We capture to an external drive and then
Hello Adobe Community,
We are a small company in southern California capturing 8mm film in a JPEG sequence and returning it to customers in a full 1080p movie.
Our largest problem as of late is that we can capture up to 4000 feet of film on a day to day basis but only render 1200 ft. This equates to approximately 240 minutes of capture with only 72 minutes of product. Our process consists of capturing the film onto an external drive, moving that drive to our editing computer (I will include specs below) and then editing and rendering on the editing computer. Our editing is very simple. We use: 8mm Settings; Fast Color Correction and Reduce Grain v4. Our average amount of grain per clip is 18-26. When we export the clip to AME we are averaging about 30 minutes of rendering per each 3 minute clip. We simply can not operate at these speeds so we need either a way to speed up our encoder process with internal changes to the computer or changes to how we edit the film. We can not lose the grain reduction however we could stand to not do color correction. Any feedback will be greatly appreciated.
Editing Computer Specs
Ram: 16GB Corsair Vengence
CPU: i7 3770 @ 3.44 GHz
GPU: Nvidia GeForce GTX 660
Sebastian Ross
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Majority of codec options is not shown
Oups... How to fix it? I simply installed PP CS6, updated all the apps and... See this
Where are all the options?!
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Exporting video in Encoder from Premiere locks up at very end
I'm new to Premiere and Media Encoder, but for the past two days, I've tried multiple times to edit a video in Premiere and export the trimmed video via the Encoder "Queue" option. The big problem comes at the end of the process, where the status bar continues to say, "Remaining: 00:00:01" and never changes, even when I leave it alone for up to half an hour. As a result, I'm unable to do anything with my trimmed video. Can anyone offer any tips on how to fix this?
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how to render Alpha + RGB with H.264 format
How can I render out an mp4 / H.264 with an alpha channel? I want to make an animated overlay for my twitch broadcasts and hopefully for other people but I can't even get it to be transparent.
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Explanation of advanced MPEG2 options
Can anyone explain – or point me to a resource that explains – these options in the MPEG2 settings?
- Macroblock Quantization?
- VBV Buffer Size?
- Noise Control (Sensitivity/Reduction) ?
- Write SDE?
- Intra DC Precision (8/9/10 bits) ? (in tests 10 bit gave much better results especially with graphics and scenes that are mostly white.)
- Ignore Frame Interval?
We are looking into using MPEG2 as a delivery and/or archiving codec, and trying to get as close as possible to ProRes 422 quality.
We've tried high bitrate H264 and MPEG2, with great results. But MPEG2 gave amazing results with MUCH smaller files (about 15% of the ProRes.)
Trying to understand these extra settings in order to optimize our conversion.
Also, at first I used the default GOP Settings of 3 M Frames and 15 N frames, but with GOP Size of 1. Then I tried setting M and N to 1, but, unexpectedly, the result was worse, especially for graphics. This doesn't make sense to me. I thought using all I-frames was supposed to reduce artifacts?
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Fast Start Encoding Option?
Hi,
I've been searching online and reading through the forum articles about exporting from Premiere and AME with the 'Fast Start' encoding option for quicktime movie files in the h.264 codec.
A lot of the information I've gathered is around the 'moov atom' and how it's commonly placed at the end of a file. For the progressive nature of playback to occur this atom apparently needs to be at the beginning of the file. Forum articles and others have suggested using third party, line based applications to change this atom position. This seems ridiculous to me as it complicates my workflow.
I have recently switched from the Apple Studio products to Adobe's and in the past I would simply check 'encode for fast start' on the export menu and this would encode the file properly.
Does Adobe have this function built into the program? Am I overlooking something? Is there is a better workflow that I am unaware of?
How best can I encode my videos so that they will buffer a small amount and then progressively download the rest as the viewers watches it?
Thank you all kindly in advance for your help.
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Media Encoder not starting from Premiere Pro
I'm having issues Exporting from Premiere Pro - I'd rather queue it through Media Encoder so I can move onto the next edit, but when I select Queue and Media Encoder opens, it doesn't do anything - simply sits there with "Not Currently Encoding" as opposed to importing the data to export.
Help?
- Adobe Media Encoder, 6.0.2.81
- Also installed other CC products Ps, Pr, Id, Lr, Ai, etc
- I have run Adobe Updater but no updates available for Me.
- Mac OS X 10.7.5 (Lion)
- I am using Adobe Media Encoder through a Creative Cloud Membership subscription
- Project is 6 minute film shot on Sony FS700 (AVCHD) and exports from Premiere Pro
- No error message, just no action from the Application
- Have not seen the problem before - most of my work is vi Canon 5D MK III, so maybe it's a Sony Codec issue? Though I have exported footage from this camera before though...
- Apple MacBook Pro, 17",
- I am using Mercury Playback Engine GPU Acceleration in Premiere Pro
Cheers
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Problems when encoding MPEG 2 with no B-Frames
Hello,
I am running into a strange artifact while using AME to encode to MPEG2. It's kind of a long story and lots and lots of troubleshooting with different encoders... but... here's the upshot and I can explain more if it helps you.
The program I am using for playback is requiring a file with gop structure IPPPP.. -- NO B-Frames. I believe the way to do this is M Frames = 1. I have N Frames = 15 which is essentially an I-frame every 15 frames and only P frames in between. Do you concur - do I understand this correctly?
Here is the problem, when changing M Frames =1 I get poor blockly quality only on the first 2 frames of the encode. The rest of the file looks great and plays back great. Other encoders I have tried with same or similar settings do no have this problem - however, I like the color output of AME better, so I am trying to find a way to use it as my primary encoder.
Here are my settings:
Dropbox - MPG2 1080p30 25000 (No B Frames).epr
Looking forward to a response... thanks.
kt
PS - I first tried chat support. Waited almost 20 minutes for first response, then constant waits between. This person was ill-equipped to help and could only say, "ask in the forum". Wasted an hour of my time. So - hopefully someone from Adobe will respond to this and try to either help or confirm there is nothing I can do.
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Very slow encoding AME
'
Seriously? 13hrs for a 2 minute clip? Can somebody help me to make it faster without ruining the quality. Please!
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Adobe Media Encoder does not pick up extra audio tracks when transcoding video clips.
I have 4K footage with 4 mono audio tracks recorded. Two of the tracks are dead audio, the second two are the camera's onboard mic. I need this audio to sync externally recorded tracks in PluralEyes, but that's besides the point.
When I use AME 6.0.2.81 (part of CS6) to transcode my 4K MOV files into usable 1080 footage for offline editing, it seems to only pick up the first two (dead) audio tracks, and ignore tracks 3 and 4, which contain the live audio.
So far the only solution I've found is to bring each clip into Premiere separately. Premiere recognizes all 4 tracks. I delete the first two, then export from Premiere to 1080. This is waaay to labor-intensive given the number of shots.
Any ideas why AME wouldn't pick up the second two audio tracks?
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How to change render resolution of After Effects project in Adobe Media Encoder for an H264 preview?
I'd like to render a 1080i comp at half resolution or third resolution in AME to speed up render times for low-res previews. I just had a low-res H264 preview take 5 minutes to encode in AE, and 28 minutes in AME.
This is easily accomplished in the After Effects render settings. However, the "video" option in AME seems to imply the project is encoded at that resolution, not rendered at it.
I went into AE and changed the setting in the composition viewport to "half", but when I queue it up in AME, the "Match Source" button still indicates 1080.
What is the correct method to get the results I want?
I'm currently using AE CC and AME CC on Windows.
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XDCAM EX no longer encoding in Media Encoder CC 2015 after upgrading to Windows 10
I just upgraded to Windows 10, and Adobe Media Encoder CC 2015 no longer recognizes XDCAM EX mxf files. Before I upgraded my OS, AME was happy to take these clips and work with them. Now, even when I try to import clips that AME transcoded fine a week ago, it says "The file [filepath] could not be imported. The source file appears to be corrupted. Please check that it is a valid file." I doubt very much that the file is corrupt, since my media players play the mxf files just fine.
I am also getting the 0xc0000142 After Effects crash - I saw in the After Effects thread that a patch is being worked on right now - could the two issues be related?
Thank you.
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Incompatible Video Codec found in the preset. Preset Load Failed.
Incompatible Video Codec found in the preset. Preset Load Failed. ~~I get this error when converting and Mp4 file to an MOV in Adobe Media Encoder, lately. Rendered files to MOV from Mp4 before and not had any trouble in Media Encoder. How do I fix this?
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Media Encoder update fails after download
29 January 2016 update of Media Encoder CC (2015) downloaded successfully (100%) but failed on installation on Mac Pro using OS X 10.11.4 Beta (15E33e). It also failed using the previous OS X Beta.
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Key Frames and Key Frame Distance
I posted this is the Premiere forum two months ago, but no response.
I’m trying to understand where Key Frames are positioned, but the info I have found on the web is unclear. Here is Adobe’s explanation from the Adobe Media Encoder PDF:
Explanation 1
Key Frames are complete video frames (or images) that are inserted at consistent intervals in a video clip. The frames between the Key Frames contain information on changes that occurs between Key Krames.
By default, AME automatically determines the key frame interval (Key Frame Distance) to use based on the frame rate of the video clip.
If your footage has a lot of scene changes or rapidly moving motion or animation, then the overall image quality may benefit from a lower Key Frame Distance. A smaller key frame distance corresponds to a larger output file.
In another Adobe document it states that a Key Frame Distance is the:
Explanation 2
Number of frames after which the codec will create a key frame when exporting video.
Somewhere else it states (re Key Frame Distance):
Explanation 3
This sets the maximum # of frames between key frames. If this # of frames without a keyframe occurs, the compressor will insert a keyframe regardless of whether the scene has changed.
There are differences between the explanations:
- the first says that Key Frames are created at a constant separation;
- the second implies that Key Frames may not be at a constant separation (because a new Key Frame will be created a certain number of frames after the previous Key Frame, but doesn’t say anything about the Key Frame before that one);
- the last explanation is quite clear (but at variance with the first): The Key Frame distance is the maximum number of frames allowed between Key Frames.
My interest in Key Frame Distance is because I have noticed a very slight, brief shimmering at one-second intervals in my slide shows exported from Premiere in h.264 (Blu-ray), 23.976 fps, 20-30 Mbps bit rate, 2-pass, Key Frame Distance unticked (with “23” appearing dimmed). It’s a very subtle effect, not always visible. I assume the shimmering is when a new Key Frame has been inserted during a still. Whether or not that really is the cause, I'd still like to know more about Key Frames. Most of my Premiere work is with stills, with the occasional video clip from a Lumix GH3 (1920 x 1080, 23.976 fps, AVCHD) thrown in. The stills have mainly simple dissolve transitions.
Q1: I assume the clips out of my GH3 have, as per Explanation 1, a constant distance between Key Frames. If such a clip is cropped inside Premiere at a frame that is not a Key Frame, does Premiere, when exporting, insert a new Key Frame at the crop point, using information contained in the original clip to create the image at that particular frame?
Q2: In general, where two unrelated video clips abut (but not at Key Frames), what does Premiere do about Key Frames? Add one at the last frame of the first clip, and at the first frame of the second clip? Then apply the Key Frame Distance parameter to ensure that within each clip there are a suitable number of Key Frames?
Q3: For stills, does Premiere insert Key Frames at the Key Frame Distance? Or is it clever enough to know that: “Hey, this is a still. No Key Frames are needed.”
Q4: Where are Key Frames created for a still that is dissolving? Assume a Key Frame Distance much greater than the dissolve time. If I was designing Key Frame inserting software, I would create a Key Frame at the start of the dissolve, one in the centre, another at the end of the dissolve, and then no more until the next clip.
Q5: Can Premiere (or AME or After Effects) tell me where Key Frames are located? Can I move them?
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