Adobe Media Encoder

AME can't seem to read Canon's new Cinema EOS R5C files correctly. AME renames all files to Clips0001 regardless of what the original file name is. The correct file name shows in the AME browser, though. But it doesn't carry through to the compression like other camera files do. All file name burn in when trying to render proxies show Clips0001. Sorry for no examples, my footage so far is not shareable, not even screengrabs.

I need to be able to batch modify "Source Settings" on ProRes Raw clips in Media Encoder. Currently the colorspace for ProRes Raw clips has to be set on a per clip basis by right-clicking clips in the Media Encoder queue and choosing Source Settings and then setting the colorspace as desired (the colorspace always defaults to Rec709). If I select multiple ProRes raw clips and try to modify Source Settings, the change is applied only to the first clip in the selection. I need to render hundreds of clips using the Sony slog3/sgamut3.cine colorspace setting but as it is, they will all have to be modified one at a time. It also does not make sense to that colorspace is segregated into a separate "source settings" dialog - it should be a setting that is set and stored as part of the encoder preset settings. I cannot use the "generate proxy" feature directly from Premiere because I cannot store the desired prores raw colorspace setting in the ingest/encoder preset. Please fix this. Move Pror

Now Prelude is discontinued i feel there needs to be a better ingest workflow in AME. Watch folders still require all of the footage to be in the exact same folder which is unworkable for me. If the watch folder could pick up a set folder structure and copy this for the transcoded files it would be perfect for our workflow. Otherwise you have to make a separate watch folder for every folder and it defeats the simplicity of the solution.

I would like to consistently be able to change the output destination for multiple files. I usually have to try to change them twice or more.

The Creative Cloud suite needs the ability to use other resources connected to the same network for distributed rendering.Installing a small program on other connected machines would allow the primary machine to use the available CPU/GPU and memory of connected machines to speed up render/export duties.

My workflow requires that I set the in-point at a consistent timecode for files I receive for transcoding. Is there a way to have a watch folder automatically set the in-point for an export when I drop a source file in? This would be a very helpful feature for Adobe to implement, if it's not availabe already.

When exporting from for example After Effects, I'd like to take advantage of the newest formats to cater the needs of my co-workers and ensure the best quality. This includes being able to make life easier for the developers with more flexible formats like WebP and WebM. WebP is very versatile; it allows for a 24-bit transparency coloring, which is something other animation formats simply do not support (and formats that do support it, are not supported by web browsers).Supporting WebP would solve this (for stills, but also for animation). Animated GIFs don't support the same level of transparency, which deminishes the flexibility (since it requires you to select a matte, which is only sporadically desirable).

Allow uploading to a Google Drive account and specific folder, particularly business accounts that do not support "Backup and Sync".

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Please improve 10bit encoding using GPU, at the moment you dont support 10bit export, I have tried for the last 4-5 days to keep 10 bit all the hdr rec2020 and use hardware encoding which reverts back to software encoding which is no good very slow , 10bit 4k with hdr rec2020 is the way forward and include in you adobe media centre + adobe premier pro for a new pre-set for this, when I select x265 custom pre-set and select main 10 , tier high, rec2020, hdr, and include hdr10, straight away I receive a message , your system hardware does not support hardware acceleration for the current settings , I know it does Because I use a program called StaxRip which does this and keeps all metadata for 4k 10bit x265 NVidia GPU acceleration. please could you create a complete new 10bit 4k x265 support for GPU encoding, I will attach a file with the issue I am facing, and I am not the only one a lot of customers are facing this issue , also I got the info about 10bit export not being supported fr

When change something in After Effects, my dynamic link reflects in Premier, BUT when I export to Media Encoder, the new change does not register. I have to keep restarting my machine to make AME work. Premier exports fine but AME link update doesn't work. Please can you advise as this puts a huge dent in my work flow.

Sometimes you just need to shove some audio under a video. And booting up Premiere or After Effects is too much of a hassle. Let us merge audio and video and render that out to a new video.

Save queue function for Encoder. So we can save on one machine and open up on more powerful rendering machine 🙂

Adobe Media Encoder is barely using my GPU and this is making the rendering process 10x slower and I can't fix it. I set it to CUDA but it still uses about 1% to 40% of GPU.

At some future stage, will AME have a batch frame rate conversion feature with interpolation? That being I can send to a queue a stack of clips with varying frame rates and output all the input files to a same end output file frame rate but leave the audio part of the file untouched to same pitch and duration? Say a collection of 12, 23.97, 24, 29.95, 30, 60 fps and all resulting output conversions at 25 fps. At present I am using AWS Elemental Media Converter which is pretty costly.Also, why when converting an AOMedia AV1 video file to h.264, the resulting AME conversion only carries audio through and not vision? Does AME have support for AV1 files, or is that still coming?

When using AME as a render for AE, it's unpleasant to set the output folder for each queued item. A preference to make AME behave like AE (output to the previous set folder) would be nice and time saving.

In any other application (Finder, Chrome, InDesign etc), when I move my fingers right aross the mouse, the view moves to the right (and as a result, the objects on the screen move left).In Media Encoder, when I move my finger to the right the view scrolls to the left (and therefore objects in media encoder move to the right).Media Encoder should use the operating systems scroll direction settings instead of doing its own thing.

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Please add the option to encode chapter markers directly into an H.264 video file.I tried to use the H.264 Blu Ray option but the Chapter Markers get encoded into a separate file. I would like to see a checkbox like "include Chapter Markers in movie file". With the functionality, that if one was to click it, the chapter markers would get baked into the mp4 file. I definitely know this is possible for FCPX has a similar option, however, I don't like exporting my projects first from Premiere, importing them into FCPX, adding the chapter markers there and then exporting it a second time.

Add an H264 codec with PCM (sowt) audio

Media Encoder CC 2019 doesn't respect my client's proprietary font which works fine in Premiere Pro, but instead replaces it with a generic font. Highly annoying and time consuming to discover this in the middle of a long batch export. Had to do them all from Premiere.

I'm converting simple 4K X4K raw AVI to mp4 with 10Mbps bitrate for streaming test.When I set CBR 10Mbps with maximum render setting, I get 300 Kbps..When I set VBR 10Mbps with maximum render setting, I get 1-1.3Mbps..Maybe it thinks that's enough, but the gradient doesn't look good as the original source.Also I need accurate size of bit rate data for my test

Premiere Pro'da export ekranında enter tuşuna bastığımızda export alıyor ve bu benim gibi secondary content üreten seri video exportu alan kişiler için kullanışlı değil.

There are a number of audio recorders used in production that produce multiple files for multiple channels. This means that, for example, if there are 3 mics recording to 3 channels, the recorder produces 3 files.It would be very useful if Media Encoder could combine these files into 1 multi-channel audio file.R.

For me the .gif format need to be seen more. It may need to have more options "Like photoshop already have".1. Color reduction algorythim2. Specifying dither algorythim3. Resampling methodEtc.Exporting an animated giff created in After Effects through Media Encoder should be ideal, but unfortunately it came out as a very heavy file. That's why a big part of us go to export it through Adobe Photoshop.Also for gifs It may be usefully to have the option of typing the desired framerate and not only the default presets ME already have.