Exporting

7If you don’t need to perform any more recordings after the Recording Successful message appears in the Status option, click Cancel to close the Export To Tape dialog box.

Note: If you want to use device control but it’s unavailable, click Cancel. Choose Edit > Preferences, click Device Control, make sure that your device is set up properly in the Device Control options, and click OK. Then try recording to tape again.

More Help topics

“Device Control preferences” on page 18

“Set up a device for device control” on page 82

Export a sequence to tape without device control

You can export to videotape without device control by operating the playback controls in Premiere Pro and the recording controls on the device itself.

Note: You can export to tape on an HDV device in Windows only, and only with device control.

1Activate the sequence you want to export.

2Make sure that the sequence plays back on your deck or camera. If it does not, review the steps for preparing for exporting to tape (See “Prepare for exporting to DV videotape” on page 445), or see the documentation for your analog device.

3Make sure that the video recording device is in Record-Pause mode, and that the tape is cued to the point where you want to start recording.

4Position the current-time indicator at the beginning of the sequence (or work area, as needed).

5Press the Record or Pause button on the device, as needed to put the device into Record mode.

6Press the Play button in the Program Monitor.

7When the program finishes, press the Stop button in the Program Monitor, and then press Stop on the device.

Exporting for the Web and mobile devices

You can export a sequence for use on Apple iPods, 3GPP cell phones, Sony PSPs, or other mobile devices. In Export Settings, select an H.264 format preset made for the target device.

FAQ: "How do I export a movie for YouTube, Vimeo, iPad, iPhone, Apple TV?”

You can use Device Central to preview how a movie will appear on a wide variety of mobile devices.

For information about exporting to the FLV and F4V formats, see the video tutorial Creating FLV and F4V files.

Moving assets between Adobe Premiere Pro and Adobe Flash

In Adobe Premiere Pro, you can add Flash cue point markers to a timeline. Flash cue point markers serve as cue points in a rich media application. There are two types of cue point markers: event and navigational cue point markers. You can use navigational cue point markers to navigate to different sections of FLV and F4V files, and to trigger the display of onscreen texts. You can use event cue point markers for triggering action scripts at specified times in FLV and F4V files.

Last updated 1/16/2012

Exporting

You can export a movie from Adobe Premiere Pro directly into the FLV and F4V formats. You can choose from severalExport Settings presets. These presets balance file size against audio and video quality to achieve the bit rate needed for any target audience or device. If you export the movie with an alpha channel, you can use the movie easily used as a layer in a rich media project.

You can import the FLV or F4V file into Adobe Flash. Flash reads sequence markers as navigational or event cue points. In Flash, you can also customize the interface that surrounds your video.

Alternatively, you can use Flash to create animations for use in movies. You can create an animation in Flash. You can export the animation as an FLV or F4V file. Then, you can import the FLV or F4V file into Adobe Premiere Pro for editing. In Adobe Premiere Pro, for example, you could add titles or mix the animation with other video sources.

Tips for creating FLV and F4V files

Follow these guidelines to deliver the best possible FLV or F4V files:

Work with video in the native format of your project until your final output

If you convert a precompressed digital video format into another compressed format such as the FLV or F4V format, the previous encoder can introduce video noise. The first compressor already applied its encoding algorithm to the video, reducing its quality, frame size, and frame rate. That compression could have introduced digital artifacts: noise. This noise affects the final encoding process, and a higher data rate is often required to encode a good-quality file.

Strive for simplicity

Avoid elaborate transitions—they don’t compress well and can make your final compressed video look “chunky” during the change. Hard cuts compress better than dissolves.

Know your audience data rate

When you deliver video over the Internet, produce files at lower data rates. Users with fast Internet connections can view the files with little or no delay for loading, but dial-up users must wait for files to download. Make the clips short to keep the download times within acceptable limits for dial-up users.

Select the proper frame rate

Frame rate indicates frames per second (fps). If you have a higher data rate clip, a lower frame rate can improve playback through limited bandwidth. For example, if you compress a clip with little motion, cutting the frame rate in half can save you only 20% of the data rate. However, if you compress high-motion video, reducing the frame rate has a much greater effect on the data rate.

Because video looks much better at native frame rates, leave the frame rate high if your delivery channels and playback platforms allow. For web delivery, get this detail from your hosting service. For mobile devices, use the device-specific encoding presets and the device emulator available through Adobe Media Encoder in Adobe Premiere Pro. If reducing the frame rate, the best results come from dividing the frame rate by whole numbers.

Note: To embed video clips into a SWF file, match the frame rate of the video clip to the frame rate of the SWF file. To encode video using the frame rate of an FLA file, use the Advanced Video Encoding settings in the FLV Import wizard.

Select a frame size that fits your data rate and frame aspect ratio

At a given data rate (connection speed), increasing the frame size decreases video quality. When you select the frame size for your encoding settings, consider frame rate, source material, and personal preferences. To prevent pillarboxing, choose a frame size of the same aspect ratio as the frame aspect ratio of your source footage. For example, pillarboxing results when you encode NTSC footage to a PAL frame size.

Last updated 1/16/2012

Exporting

Adobe Premiere Pro makes several FLV and F4V file presets available through the Export Settings dialog box. These include preset frame sizes and frame rates for the different television standards at different data rates. Experiment with the various Adobe Media Encoder presets to find the best setting for your project. Use the following list of common frame sizes (in pixels) as a guide:

Modem NTSC 4 x 3 162 x 120

Modem PAL 4 x 3 160 x 120

T1/DSL/Cable NTSC 4 x 3 648 x 480

T1/DSL/Cable PAL 4 x 3 768 x 576

Stream for best performance

You can stream FLV and F4V files to eliminate download time. FLV and F4V files also have deep interactivity and navigation capabilities when they are streamed. Streaming FLV and F4V files allow you to monitor quality of service. You can stream FLV and F4V files with the Flash Media Server. Alternatively, you can use a hosted service from one of the FLV/F4V Streaming Service partners available through the Adobe website. For more information, see “Delivering Flash Video: Understanding the Difference Between Progressive Download and Streaming Video” on the Flash Developer Center website.

Cover progressive download times

Learn how long it takes to download enough of your video so that it can play to the end without pausing to finish downloading. While the first part of your video clip downloads, you can display other content that disguises the download. For short clips, use the following formula: Pause = download time – play time + 10% of play time. For example, if your clip is 30 seconds long and it takes 1 minute to download, give your clip a 33-second buffer. The applied formula is 60 seconds – 30 seconds + 3 seconds = 33 seconds.

Remove noise and interlacing

For the best encoding, remove noise and interlacing.

The higher the quality of the original, the better the final result. Frame rates and sizes of Internet video are smaller than frame rates and sizes of television video. However, computer monitors typically have color fidelity, saturation, sharpness, and resolution at least as good as high-definition televisions. Even with a small window, image quality can be as important for digital video as for HDTV. Artifacts and noise are at least as obvious on a computer screen as on a television screen.

FLV files, F4V files, and SWF files are intended for progressive display on computer screens and other devices. Interlaced displays such as TVs do not typically play FLV or F4V files. Interlaced footage viewed on a progressive display can exhibit alternating vertical lines in high-motion areas. Thus, all the FLV and F4V file presets in the Adobe Media Encoder have deinterlacing turned on by default.

Follow the same guidelines for audio

The same considerations apply to audio production as to video production. To achieve good audio compression, begin with clean audio. If your project contains audio from a CD, transfer the audio files directly from the CD to your hard disk. Do not record the sound through the analog input of your sound card. The sound card introduces an unnecessary digital-to-analog and analog-to-digital conversion that can create noise in your source audio. Direct digital transfer tools are available for Windows and Macintosh® platforms. To record from an analog source, use the highest-quality sound card available.

Last updated 1/16/2012

Exporting

Tips for creating video for mobile devices

Use these tips when shooting content for mobile devices:

•Tight shots are better. Try to keep the subject separated from the background; the colors and values between background and subject should not be too similar.

•Be aware of lighting. Poor lighting is a greater problem with mobile devices and can reduce visibility on small screens. Shoot and adjust with this limitation in mind.

•Avoid excessive panning or rolling.

Use the following tips when editing video with Adobe Premiere Pro and After Effects:

•Set the frame rate for the output movie according to output device or output type. For example, a commercial in After Effectsmight be rendered at 15 frames per second (fps) for distribution on mobile devices, but at 29.97 fps for broadcast television in the USA. In general, use a lower frame rate. A frame rate of 22 fps is a good compromise for reducing file size without losing quality

•Make the movie as small as possible and remove any extraneous content, especially empty frames. Many actions can be done pre-encoding to limit file size. Some of them apply to shooting techniques, while others (for instance, using motion-stabilization tools in After Effects or applying a noise-reduction or blur effect) are post-production tasks that facilitate the compression portion of the encoder.

Note: For tips on making movies smaller, see the online Help for After Effectsand Adobe Premiere Pro.

•Match the color palette to the correct mobile devices. Mobile devices, in general, have a limited color range. Previewing in Device Central can help determine if the colors used are optimal for an individual device or range of devices.

•Adjust clips. Grayscale view is helpful to compare values.

•Use the presets available in Adobe Media Encoder. Several presets are designed for export to 3GPP mobile devices in Adobe Media Encoder. 3GPP presets come in standard sizes: 176 x 144 (QCIF), 320 x 240, and 352 x 288.

•Crop wisely. A common practice is to work at standard DV project settings and output to a combination of DV, DVD, Flash, WMV and mobile 3GPP. Use the usual presets, but at encoding time manage the difference between 4:3 or 16:9 video and the 11:9 aspect ratio of mobile 3GPP. The AME crop tool allows constraint to arbitrary proportions in the same manner as Photoshop’s Crop tool and adds an 11:9 constraint preset to the existing 4:3 and 16:9.

•Work at an aspect ratio consistent with mobile output. New project presets (available only on Windows) make this easy. The frame dimensions are larger than the ultimate output size (working at 176 x 144 can be difficult, for example, for titling), but they match the output-frame aspect ratio to facilitate easy encoding. Each Windows project preset renders to uncompressed video, but most computers can manage the data rate at these reduced frame sizes and halved frame rates. (This process is for projects where the only output is for mobile devices.) Two frame aspect ratios account for the majority of support in mobile devices: 4:3 (QVGA, VGA etc.) and 11:9 (CIF, QCIF, Sub-QCIF). These two common project settings are included in the Adobe Media Encoder “Mobile & Presets” folder.

Note: Do not use the device data in Device Central to determine how to configure a custom preset. Device Central does not have information about video or audio support (frame sizes, codecs, bit rates, and so on). The frame size data in Device Central refers to screen size and wallpaper and screen saver sizes, which are different from video sizes.

For more tips and techniques for creating content for mobile phones and devices, see

www.adobe.com/go/learn_cs_mobilewiki_en.

Last updated 1/16/2012