When I transcode 120fps .mp4 files using Apple ProRes 422 HQ it will change the clips to 60fps. It should just be using the same frame rate as the source footage. Other clips that I transcode that were shot at 24, 30, 60 all have a matching output framerate, it's only the 120fps shots that are being changed.
I don't have this issue when I use Media Encoder 2019. Any ideas what is happening??
Thanks for reaching out. There are certain restrictions in the export frame rate with some codecs. Broadcast codecs can be exported with a maximum limit of 60fps.
Have you considered exporting in HEVC format?
Let us know.
You are telling me that broadcast codecs (like ProRes) can only be exported at a maximum of 60fps, however in the 2019 version of media encoder I am able to export at higher frame rates. It seems as if Adobe removed this feature in the new version of media encoder. Is there any plan to fix this?
HEVC is really NOT a option for editing workflow.
The ProRes should be able to go until any kind of frame rate (100, 120, 240, 360, 28600.... whatever)
I understand your point. I'll check with my resources about this question and update you soon.
Please stand by!
Could we please receive an update on this bug? It has been reported as a bug and has received votes. I'm unfamiliar with the process, but about how long should we expect to wait until this feature is fixed?
Were sorry for the delay in response. The product team was not available because of the holidays. I discussed the issue with them.
This feature of exporting a file in Apple ProRes 422 HQ codec with 120fps is not present inside Adobe Premiere Pro as of now. I would request you to add your voice on the feature request post shared by one of the users above. Here's the link: https://adobe-video.uservoice.com/forums/911308-media-encoder/suggestions/39164290-bug-prores-limite...
I can not provide you any estimated time or date about the feature implementation, however I assure you that the product team has been notified about this.
This issue is far from resolved. Premiere Pro and AME 2020 eliminated the user's ability to transcode high frame rate media into post production codecs. Previously I was using AME to transcode MPEG-4 AVC/H.264 files to Apple Pro Res. On a Mac the Pro Res files cut like butter and it's my preferred workflow. Then, when CC 2020 came around I noticed AME was transcoding 120fps files to 60fps and there was no option within AME to create files faster than 60fps. My workaround was to use Apple Compressor. That worked until the most recent "updates" from Adobe. Now 120fps Apple Pro Res clips from Compressor are unable to be imported into Premiere Pro 2020. This is completely maddening! Why, Adobe, have you degraded the software and removed features? This is unacceptable.
First, t've chat this morning about the same problme with the adobe support service and it seam that THEY DON'T CARE ABOUT THAT. They've ask me, as for you, to fill this f***ing suggestion form.
I've found a solution for my use, which is working inside of premiere with ProRes 100p footage.
1 - Inside Media Encoder : import cilp > right click on it > interprate footage > Assume this framerate : choose 60p (it work with others as well)
2 - Inside Media Encoder : choose the ProRes preset you want with the same frame frame rate you've chosen just before (60p for may exemple)
3 - Render > you have now a good ProRes footage but with the wrong frame rate.
4- Insite of Premiere (or after effects) : imprt your footage > right click on it > interprate footage > Assume this framerate : choose the original frame rate (120p in my case)
Done! You can now work on a ProRes version on your footge with the right framerate.
Ones again, Adobe ... what are you doing? I hope hollydays were good but it's time to work now!
100p in point 4- for my case sorry
Hello, I've found another workaround when working with proxies, maybe it can help.
I work with PAL since i'm in europe.
I have 100fps clips and I need to generate proxies, I find out that MediaEncoder renders 60fps maximum and destroys my workflow since when I edit viewing proxies when I slow down the clip 25% I want to see a smooth slow motion (25fps).
I select all the clips (100fps) on my Premiere project and I generate proxies, using my ProRes profile (or Cineform) that has adaptive fps. When the first clip of the list starts rendering I stop the process and delete the partial file rendered in the proxy destination folder and reset the process it so that I have a list of all the processes ready to be rendered in Media Encoder. I select all the clips and right click to conform them to 50fps (since the maximum available is 60fps), you can "translate" the fps to your needs if you work in NTSC. It will a take a while if you have many clips. By doing this i now have 50fps proxies. Now I just need to go to Premiere original clips and conform them from 100fps to 50 fps. Maybe you need to link the clips to the proxies manually.
So i have a 50fps clip with its 50fps proxy, when I play it I see them going at half speed, that's the only issue but now when I put the clip on the timeline I can set 200% speed to have it paying at normal speed (50fps x 2), 100% for half speed (50fps) and finally 50% for 1/4 speed that's my slowest slow motion (50fps / 2 = 25fps) and it palys smooth.
That's very annoyng anyway.
With the Cloud you can re-install MediaEncoder2019, and then you can encode ProRes in 100fps (choosing original frame rate)
(before was better... weird)
I'm working on a project that mixes 120 fps material with 23.98 footage. I also need to use proxies since my laptop is ten years old and only has a USB 2.0 port! I will need to hand the edit off to an online color correction studio, so I'm not taking any chances with using different frame rate interpretations for original files and proxies. This is my crazy work-around to deal with Media Encoder's ridiculous lack of 120 fps capability...
I take the 120 fps material and put it on a 120 fps timeline. I then use the speed function (right-click on the clip) to slow it down to 20%, so that I have a very smooth slo mo clip. I then export it from the timeline using all the "match source" parameters except for one - I change the frame rate of the export render to 23.98. I can now re-import that clip back onto my 23.98 edit timeline and speed it up to 120% (the original audio syncs back up quite nicely) or slow it down drastically with time re-mapping however I wish.
I can also create proxies and have them match the original file frame for frame since both files are officially at 23.98, well below the stupid fps limits of Media Encoder. It's a royal pain in the ass if you have a number of files to do but at least the headaches are over once it's done.
Get rid of this problem, Adobe. There's no excuse for not being able to render at 120fps. No one is asking you to do it in real time; renders are done frame by frame.
Sorry... correction: I speed the re-imported clip back up to 500%, not 120%, and then it syncs with the original sound very accurately. And in case you're wondering why I don't just use the "Interpret footage" feature it's because I've run into problems in the past with passing off a project with interpreted rates to a different platform for online finishing. That bit of information sometimes get mangled in the export of the edit list. Changing the speed % of the clip on the timeline itself doesn't seem to cause problems, though.