Hardware recommendations for Premiere Pro and After Effects - Here’s what I do

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Changes will take effect once you reload the page. Most of the time, with modern computers, leave this unchecked. Please rate the helpfulness of this tip. For the same project, the setting should match. Otherwise, the instructions above should hold true. HI Larry! Sigh… sometimes you just need more horsepower.

Premiere is converting to GPU rendering, but it is a slow process. When rendering, Premiere will match the bit-depth of your sequence, unless you tell it otherwise. Keep in mind that render speed will also be affected by the number and complexity of effects applied to the clips.

So, if you have an intense color grade going on, that, too, will slow things down. Finally, if you have access to a faster CPU, read this article and see if this helps speed things up:. Maximum render quality only affects clips that are scaled. As the article states, if you see jagged bumpy edges, turn this on. Otherwise, you can leave it off. Great info here! Thanks for making this write up. I am worried they may do more harm than good, as these formats are already incredibly high quality on their own.

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Adobe premiere pro cc render at maximum depth free

After Effects with native support for Apple M1 is currently in public Beta. Choice, upgradeability, and often cost savings. You can configure the system to your needs and budget or choose configurations that have been tested with Premiere Pro from Dell, Lenovo, HP, and video workstation specialist companies like Puget Systems. Video editing is demanding and requires powerful processing and fast storage.

You can configurations that these requirements in both desktop and mobile systems. Laptops have the obvious advantage of portability and can be connected to external displays and augmented with external storage and even external eGPUs. Laptops may be more expensive, relative to the power they offer. Depending on the model, Windows laptops offer a lot of options for configuring a video editing workstation that meets your needs.

You can also choose from desktop configurations that have been tested with Premiere Pro from Dell, Lenovo, HP, and video workstation specialist companies like Puget Systems. Video files are big so you will need lots of space. We recommend an additional large-capacity storage device for archiving completed video projects. The two most common resolutions for video content today are HD and 4K.

Measured in screen pixels width x height HD is typically x and 4K footage is four times larger at x A well-equipped high-end system can run Premiere Pro and After Effects well.

Understanding how each application uses system resources will help you to build the best system for your needs. Starting with After Effects Premiere Pro: For Premiere Pro, eight cores are sufficient. After Effects: For After Effects For demanding workflows, cores take full advantage of Multi-Frame Rendering.

For Apple M1 systems, we recommend 16GB of shared memory currently the maximum available. After Effects Apple M1 systems use shared memory for graphics processing. Out-of-date graphics drivers are one of the most common causes of performance issues with video applications. You can use fast external drives for media and Media Cache. If only two drives are available, you can store Media Cache and Media on the same drive. You typically use an intermediate codec to pass media files from one application to another in a post-production workflow.

The GoPro CineForm codec is optimized for encoding video content with 4K and higher resolution, including support for smart rendering. You can also render and transcode files in mixed formats into a single GoPro CineForm codec to archive, or share with other teams and systems. A distinct advantage of using the GoPro CineForm codec is the minimal loss in quality even after multiple encodes. For more information, see the GoPro CineForm website. You can download QuickTime from Apple's Support website.

For more details on these settings, see Tips to work with the GoPro CineForm codec and this blog post. The Consolidate and Transcode feature in the Project Manager lets you effectively archive projects, especially large projects with many clips and different media formats. You can easily move all relevant files in projects and sequences, and transcode them into a GoPro CineForm intermediate codec. You can archive this codec, or share with other teams and systems.

At any point, you can re-edit the archived projects in Premiere Pro. For more information on using the Consolidate and Transcode feature, see Copy, transcode, or archive projects. To export GoPro CineForm footage, the frame width must be evenly divisible by 16 and the frame height by 8.

Dimensions that do not meet these requirements are automatically rounded to a valid value. These will be referred to during the article. These settings are designed for high-performance systems. I always have my memory preferences set to Optimize rendering for Performance.

I leave this set to the default, which is Performance. Memory preferences can be set to be optimized for memory or for performance. It should be safe to leave it at performance. What does Maximum Bit Depth do? At first glance, it seems that the Maximum Bit Depth switch simply forces Premiere Pro to render supported effects in bit with floating point accuracy. This is good because it will reduce banding and other artifacts while also keeping overbrights and super-blacks intact, never clipping levels.

The Maximum Bit Depth switch also requests bit float from the importer, which is otherwise only 8-bit. This is the explanation that Premiere Pro offers you when you hover the pointer over the Render at Maximum Depth button in the Export Settings. This can be confusing. More on this later. This can be done in 8-bit per channel, or in bit per channel. Use a clip with some highlights close to maximum. The highlights are totally blown out.

This curve makes the overbrights get back below IRE on the scopes, and all the details are back. Rendering in 8-bit, the overbrights were simply clipped, and lowering the levels again only makes the clipped levels darker.

Lots of detail is lost. Of course, these were extreme adjustments just to make the difference obvious. But we often end up having more than one adjustment on one clip. For example, you might add a LOG to Rec.

You can also start to see banding in gradients etc. But even when you choose GPU rendering in the Project Settings, some of your clips may be rendered using Software mode. Add a non-accelerated effect or transition, and a part of the rendering of each frame will be done in 8-bit, potentially clipping levels and introducing rounding errors and banding. Such non-accelerated effects include common tools like Camera Blur and Unsharp Mask.

Part of the rendering happened in Software mode, and levels were clipped. Yes, those need to be rendered—hence the red render bar—but they will be rendered on the GPU in bit.

The clip under the playhead has a non-accelerated effect. The last clip has Optical Flow enabled on Speed.

It turns out there is no simple or direct way in the timeline to tell if part of your rendering is done in Software mode. So, how can you find out if a clip that triggers a red render bar does so because of Software rendering or not? First, you need to find out if the clips in the area with a red render bar have effects on them. If the fx badge is gray, there are no effects on the clip. The colors of the fx badges on each clip show you what kinds of effects have been applied.

The short version of this is that you only need to worry about clips with green and purple badges, and those with a red line under the badge. If one or more clips do have a non-accelerated effect, then some of the calculations will be done on the CPU. The Lego bricks icons in the Effects panel show if effects are accelerated and bit capable.

But the Effect Controls panel only shows effects on one clip at a time, so it will take a while to go through all the clips. This will show all the effects that have been used on those clips. The Remove Attributes dialog shows all the effects on the selected clips. No banding or blocking. Some banding and blocking. Footage by Neumann Films. Serious banding and blocking, especially in the gradients in the ocean.

The Render at Maximum Depth tick box refers to the accuracy of the calculations, while the Depth setting below refers to the bit depth of the encoding. Surprisingly, this setting has little to do with the tick box above it. Note the banding in the preview. The preview does not show the final quality. So the Depth setting decides if the rendered file will have 8-bit video, bit, or more. To ensure high-quality output, always use bit depth when exporting to ProRes. For some strange reason, all the presets default to 8-bit—presumably a choice of performance over quality—but this leaves you open to banding and blocking.

Note that when Smart Rendering kicks in, this setting has no effect. If you have rendered previews of the segment, and choose Use Previews, the setting will not affect the output. Also, note that the Match Sequence Settings feature in Export Settings is set to Maximum Bit Depth if your sequence has this enabled, but the Depth is set to 8-bit, making even this feature unusable for high-quality ProRes export.

MRQ, when active, will give you sharper images after scaling because it enables a higher-quality Lanczos interpolation method instead of the default bilinear. This is why it also increases the export time when active. Sounds pretty simple. But does it affect other things than scaling? You bet. And what kind of algorithms are we looking at here? You may have seen that Photoshop has several scaling algorithms to choose from. Bicubic, Bicubic Sharper, etc. And they all have different pros and cons.

Photoshop scaling options. Why do we have so many to choose from?

Adobe premiere pro cc render at maximum depth free. Adobe Premiere Pro