I want to do my encode using Handbrake. what is a good mezzanine export from Premiere?

[Ivan Myles]

As per thread [1], Premiere Pro will export ProRes422 on a Mac with FCP installed. On a PC, try “DnXHD, Blackmagic, Uncompressed, DVCProHD, etc.” [2]

I use Blackmagic 10-bit 4:4:4 (AVI) as an intermediate format. You could also try the H.264 codec in Premiere Pro for direct export without transcoding.

[1] https://forums.creativecow.net/thread/3/907697
[2] https://forums.creativecow.net/thread/3/922859

[Tero Ahlfors]

So… Why don’t you encode with Adobe Media Encoder or Premiere?

[Ryan Holmes]

Why are you using Handbrake to encode? Handbrake is good for ripping DVD’s off for your iPad or computer. It’s not a robust encoding solution for professionals (especially when you want fine control over all aspects of your export).

Like Tero said, I’d use Adobe Media Encoder, Premiere Pro, Quicktime Pro, Telestream Episode, or Sorenson Squeeze. Since you already have AME and PPro I’d turn to that first – both more than capable of making h.264’s for distribution.

In using AME or PPro you don’t have to go to an intermediate format. You directly export your timeline. If I do need a high quality master I use ProRes or DNxHD as my intermediary files before applying different distribution compression settings (i.e. Blu-Ray, DVD, web, etc).

Ryan Holmes
http://www.ryanholmes.me
vimeo.com/ryanholmes

[Dan Sakols]

Ryan,
don’t knock Handbrake. Its a very sophisticated encoder that exposes alot of control Ive been able to get far better compression for a give file size than FC Compressor and QT Pro when you tune the encode settings. I have not looked at Adobe stuff in any detail yet.

In the event I were to use PP for my final encode, would it be good practice to edit in the source clip format or is it best edit in a less lossy format and then transcode back to AVC?

thanks
dan

[Ryan Holmes]

Dan – I’m not knocking Handbrake. I use it. It’s just a program that is ill suited towards professional video delivery. Frame rate conversion, de-interlacing, aspect ratio, profile settings, bit depth rendering – not Handbrakes area. This is the territory of the above listed encoding apps.

Additionally Handbrake only deals in h.264 (and MKV). The other encoders listed, save for Quicktime Pro, can take 1 Quicktime mov file and churn out 10 or more different formats (h.264, blu-ray, DVD, mp3, WAV, flv, DPX, etc.). For my workflow Handbrake is just not a good fit. I wouldn’t encourage others to use it for their final delivery prep (unless you’re ripping DVD’s to your computer for your flight! 😉

Just my $.02….

Ryan Holmes
http://www.ryanholmes.me
vimeo.com/ryanholmes

[Dan Sakols]

Im not actually a video production professional, but do work with the underlying technologies for media streaming. Im very interested in your inputs.

What about sequence formats. Im not sure if I should actually edit in the same format as the AVC source from my DSLR or in a less compressed format.

dan

[Ryan Holmes]

[Dan Sakols] “What about sequence formats. Im not sure if I should actually edit in the same format as the AVC source from my DSLR or in a less compressed format.”

The answer to this question depends on what you plan on doing with the footage beyond editing. Do you plan on doing compositing, color grading, graphics work, etc. with the footage? If so h.264 is not a good format for that type of work. For that you may need to turn to an intermediate codec such as ProRes or DNxHD.

However, if you’re just going to straight cut (or dissolve) between shots PPro CS6 handles h.264 without much problem provided your system is a newer computer (last 2 or so years) with a Nvidia graphics card.

Ryan Holmes
http://www.ryanholmes.me
vimeo.com/ryanholmes

[Dennis Radeke]

I’ll ask the basic question – why should you have to transcode at all? Premiere Pro will read and edit the H.264 from your Canon camera.

Of course you can convert your footage to anything we support if you wish. However, this is only if you want to or if your systems are older where playing back H.264 might be too taxing on the system.

Dennis

[Dan Sakols]

The reason Im thinking about this (perhaps wrongly) is that I want to avoid quantization in intermediate decode/encode cycles in rendering. From this thread I have learned that cuts and transitions will not matter (transitions don’t need to be rendered?) but composting and color correction will. if that’s the case- I frequently tweak the lighting in certain clips, it sounds like it would make sense to convert my camera clips to ProRes before going to work on it.

Im just an enthusiast making fun videos, but I know alot about compression technology, and want to apply some best practices. It certainly would be more convenient just to keep it in H.264 and then do a final High Profile, exhaustive motion vector search export. Am I on the right track here?
dan

[Ryan Holmes]

[Dennis Radeke] “why should you have to transcode at all?”

h.264 doesn’t play well in every program. So if he’s going out to other apps for compositing or color grading or graphics h.264 is not a good codec for that. An intermediate codec would be much better suited to that and stand up to the multiple re-compressions that may occur in moving through a pipeline.

Ryan Holmes
http://www.ryanholmes.me
vimeo.com/ryanholmes