We’re working in Adobe Premier Pro. Our cut is done and we need to upload a ProRes file and a couple of other formats. The sequence is selected. We’ve made all the right settings in the export tab (we hope). We click “Export.”
“We wait. We’re bored. No don’t protest, we’re bored to death, there’s no denying it.” (My apologies to Samuel Beckett.)
Let’s face it; encoding takes time. It’s not bad for a 0:30 spot, but for longer sequences, it can take a while. However, in the above situation, there’s one setting you can make that might help you out.
This setting relates to how Premiere Pro creates sequences and what are considered default sequence settings. When you create a new sequence, you’re offered many options for frame rate, resolution, number of audio tracks and type of audio tracks.
You’re also offered the option of selecting the file format, resolution and codec for all the preview files that are created. When you set previews to render in your delivery codec, ProRes for the above example, and you render “along the way”—during the edit process—then when you go to deliver the ProRes it won’t take much time to export because the rendering is already done.
If you forget to create the sequence with the preview settings set to the codec you need, you can always change it later by right-clicking on the sequence in the project window and choosing “Sequence Setting.”
There might be downsides to this workflow.
For example, your preview files might take up more room or your computer might not efficiently create previews with this codec. (If you’re on Windows, you’d have problems if your deliverables are ProRes and not something like an Avid codec.)
You also have to remember to render as you go—when you take a break for some avocado toast or check in on the World Cup—or you’ll end up having to render at the end.
So, yes, there are trade-offs, but there are always trade-offs.