Here are the things that I like to consider when trying to improve the efficiency of my workflow pipeline:
- What are my export needs?
- H.264 file for YouTube? For most people, this is the route chosen.
- Something of higher quality, like, ProRes? If possible, can smart rendering be used to create this file?
- Both? If both, is it possible to use smart rendering to generate a "master" file which could be used for deploying H.264 copies of the file rapidly.
- What is the most efficient way to get my export completed?
- Using smart rendering to export a high quality file might be more efficent than a standard export workflow
- A modified smart rendering process can be used if time or storage limitations exist. Import the original H.264 masters, then render them immediately (and "as you go") to get decent performance with the preview files.
- Hardware Rendering: Take advantage of Hardware Rendering for H.264 if you have an Integrated CPU/GPU. It's set by default in the Export Settings dialog box under the Video tab if you have such a machine and need to check.
- Optimal Files: Files that are optimally formatted and that match sequence settings process faster than files that do not. The transcoding process can deliver optimal files.
- How can I export with the least amount of potential problems?
- Smart rendering (with Using Previews checkbox checked). Why? Smart rendering takes stress off the CPU and GPU during the export process.
- This will prevent the dreaded "Error Compiling Movie" dialog box.
- That said, you need to consider render and transcoding time that it takes to set up correctly.
- Export with plenty of hard drive space to spare.
- Export to a separate drive from the OS.
- Export to high speed drives with some form of redundancy, like RAID 1, etc.
- How can I process effects with the least amount of rendering time, or none at all?
- Optimize clips via the transcoding process:
- Clips that are of the optimal codec, size, frame rate, etc. simply render effects faster in a Sequence that has the exact same settings.
- If clip settings mismatch the Sequence Settings in the regard, rendering and exporting is much more time consuming.
- Preprocess certain effects during the ingest and transcode process.
- Add any color grades as presets in the ingest process in the Effects tab of Media Encoder, this saves processing time for render and export.
- Lower third graphics can be added with the "Image Overlay" effect.
- Video Limiter can be added in the ingest process.
- Loudness Normalization can be added during ingest.
- How can I edit without frustration?
- Transcode H.264 and HEVC footage to an intermediate codec like ProRes, Cineform, or DNxHD/HR. These codecs perform so much better than those highly compressed codecs.
- Avoid Recording Long Clips:
- Clips that are lengthy, especially those that use screen capture software or are shooting with mobile devices, can have audio drift and sync issues.
- Keep clips at a reasonable length, if at all possible to avoid such issues: especially those users that capture long gameplay clips.
- These are usually H.264 with variable frame rates. Both of these factors provide an added layer of complexity. It is best to transcode these files should they be exhibiting such problems with A/V sync.
- Footage should live on very fast drives.
- Set aside a high speed SSD or the like for cache files.
- Maintain your system regularly. Repair Permissions, reinitialize drives between projects, delete unnecessary files.
- Keep your projects lean by removing any unnecessary material on a regular basis.
- Maintain a high level of organization: Label items. Store like items in the same bin.
- Import, arrange, and organize audio clips and music files.
- Create a .mogrt for all preset graphics.
- Reboot your system twice a day.
- Maintain your own set of project backups using "Save As" which will create discrete project versions. Do so a couple of time per day.
- Save frequently manually, around every 15 minutes at a minimum.
- Take frequent breaks
- Use a standing desk.
- Have decent studio audio monitors.
- How can I begin the edit without being disorganized?
- You can import or ingest directly into specific bins. That provides a nice start.
- Within bins, label clips and add specific notes to the Log Notes column
- Add any Metadata that may be helpful in sorting and sifting clips. I like to add: Basic > Creation Date so I can sort any "events" related clips by date and time.
- Use Search Bins to find specific clips based on any metadata
- Become very familiar with the source material.
- Watch every clip from beginning to end.
- That is the responsibility of every editor.
- How can I have good performance in the Timeline?
- Trancode footage
- Reduce Timeline Playback Resolution to 1/2 or lower.
- Disable "High Quality Playback" in the Program Monitor > Settings menu
- What steps do I need to take during the import process for a smooth editing process?
- Transcode to an editing codec
- Use the Media Browser to import footage coming from cameras that shoot on CF cards
- Rename any clips if necessary
- Edit on Ingest: You can begin a background process for creating transcoded clips. Info here.
- Will time constraints impede my efforts?
- Check dates for deadlines or any deliverables along the way.
- Is the machine powerful enough to do the job in the allowed amount of time?
- Am I collaborating with others or am I solo?
- If collaborating:
- Who is collaborating me and how?
- Are we using Team Projects or a standard Project?
- Where will the media be stored?
- How is media shared?
If I can think of any other issues you may want to think about ahead of an edit session, I'll add that on as I think of them. Let me know what you are thinking about before you start an edit session. As you can see, I'm heavily reliant upon doing upfront work to save me time, frustration, and any difficult issues on the back end, specificially, when exporting.
Let me know if you have any questions.
Back to the Premiere Pro Troubleshooting Hub: Premiere Pro Software
Kevin Monahan - Sr. Community & Engagement Strategist – Pro Video and Audio
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