[Joseph Freeman iii]

Jim,

Thank you for your reply.

The Mute Fx button does enable/disable Fx on the displayed timeline within Premiere Pro.

On the Export side of the equation, even if Mute Fx is enabled, the Export process by passes this switch.

Currently the only solution, I know of, is to remove all attributes from within a timeline before exporting.

Joseph Freeman

[Joseph Freeman iii]

Hi Antoine,

Buying and learning additional software to perform a seemingly simple function is not effective for my occasional needs.

Thanks for the link and the time to provide a possible work around.

Be well.

[Joseph Freeman iii]

You’re welcome Blaise.

This feature and dozens more would benefit Premiere Pro users greatly.

Thanks for your kind response and be well.

[Joseph Freeman iii]

Blaise,

This had been my solution.
I was wondering if there was a solution to eliminate wasted work.

Thank you for the suggestion and time to post it.

[Joseph Freeman iii]

In my experience, applying denoise in an adjustment layer works somewhat erratically, especially when other effects and/or transitions are also applied, either in the adjustment layer or in the clip effects control.

This is why I use the previously described approach. Additionally, one doesn’t have to remember to search for instances of denoise to enable or disable.

One small item omitted in my workflow: Save the rendered and replace clip in the same folder as the original clip to keep your clips together.

I hope this information helps in your projects.

Joseph Freeman

[Joseph Freeman iii]

My solution for “previously shot” material has been to perform Denoise in After Effects (Dynamic Link) for each shot in question, without any color grading or additional alterations. Typically in Premiere Pro, the clip is duplicated and placed on another video track and disabled (Before linking), to ensure original clip availability if needed.

In AE, I render a quick check of the dynamically linked clip with denoise applied to view the rendered semi-final results (no color grading). This check print can be deleted after viewing.

In Premiere Pro, the AE linked clip is rendered and replaced with typically a ProRes 422HQ. Color grading is applied to this denoised clip.

For each project I create a MASTER After Effects VFX file and have it opened in the background before creating a new denoised clip. This ensures all denoised clips are saved in one location.

This approach has been my go to approach for the past year and half and has eliminated many hours of frustration and has improved my workflow.

[Joseph Freeman iii]

Orginial content has been both HD and 4k.

When I have used max render settings and 16 bit color depth, the results were even better and for super max quality I have increased the bit rate and max bit rate.

Keep at it, I believe h265 will gain greater popularity.

[Joseph Freeman iii]

I Spoke too soon.

When selecting all clips, in the speed/duration remap menu the percentage and duration is grayed out. If only a few (less than 20 or so), then this solution works.

[Joseph Freeman iii]

Hi Mark,

I have used h265 as my presentation codec of choice for the past 6-7 months. In most instances rendering was in AME, over Premiere Pro. All work shared with the directors on each project has been accepted with no complaints.

At the beginning of each project, I have inquired if h265 would be ok and received permission.

I find the quality to be many times greater than h264 and rendering at the default settings produces a same size file as h264, just that rendering takes longer.

Joseph

Windows10, i7-5820, 64 GB, 1080 Ti/Asus PB287Q, 14 TB (He,SSD,SataIII), cc2019.1.0

[Joseph Freeman iii]

Kevin,

Thanks for your clever solution and links…This approach will eliminate much of the work.

A welcome future feature in Premiere Pro, hopefully.

Joseph