Queueing to AME CS6 64-bit from Premiere

I have several sequences in Premiere Pro CS6 that I want to queue to Media Encoder so don't have to do it one-by-one. My problem is when I hit queue from Premiere it opens AME in 32-bit, I want it to open 64-bit because the export setting format is set to x264 PRO and for whatever reason the 32-bit version doesn't have those settings only the 64-bit version has it. Is there a way to change the default to open in 64-bit and not the 32-bit version of AME. I know I can still open the 64-bit version and have the sequences there but I have to change the format for the export again, I don't want to take too many steps if there's a solution to my problem.

I don't know, when I installed CS6 it was installed too.

Similar Messages

Queueing to AME CS6 64-bit

I have several sequences in Premiere Pro CS6 that I want to queue to Media Encoder so don't have to do it one-by-one. My problem is when I hit queue from Premiere it opens AME in 32-bit, I want it to open 64-bit because the export setting format is set to x264 PRO and for whatever reason the 32-bit version doesn't have those settings only the 64-bit version has it. Is there a way to change the default to open in 64-bit and not the 32-bit version of AME. I know I can still open the 64-bit version and have the sequences there but I have to change the format for the export again, I don't want to take too many steps if there's a solution to my problem.

I don't know, when I installed CS6 it was installed too.

AME freeze during export from premiere

Hi, I have the same problems by using AME since CS 5.5... now I have AME CC 2014 but the problem is the same.MAC OSX
I'm on MAC PRO OSX 64GB Ram, 2CPU XEON, 2 Graphic card AMD Fire Pro 700 2 x 6GB.
When I export from premiere using adobe media encoder, and setting OPEN CL HW acceleration, some times it freeze and i have to restart the mac pro forcing it.
The only way to export is disable GPU but it needs longer time to do the compression.
I want to use GPU OPENCL, i bought this macpro with 2 graphic card so I want the faster way to compress... how to do?
I noted that the problems happen when the project has big images inside such as more then 3000px width.
The strange thing is that if i compress the same project on a windows OS, with CUDA NVIDIA card (2GB) it works...
I understood that with the new AME release (CC 2014) this problem was solved but i see not.
Pls let me know
Thanks
Bye

Moving to Media Encoder forum... and some links to read that may help
Some 10.9.3 links
-next link says After Effects, but check YOUR permissions !!!
-http://blogs.adobe.com/aftereffects/2014/06/permissions-mac-os-start-adobe-applications.ht ml
-Mac 10.9.3 workaround https://forums.adobe.com/thread/1489922
-more Mac 10.9.3 https://forums.adobe.com/thread/1491469
-Enable Mac Root User https://forums.adobe.com/thread/1156604
-more Root User http://forums.adobe.com/thread/879931
-and more root user http://forums.adobe.com/thread/940869?tstart=0

How can I properly export video w/ bars to Rec709 (16-235 in 8-bit) from Premiere's RGB (0-255)?

I have hit some real frustrations in working with Premiere to meet broadcast Rec709 standards for DVD & Blu-Ray. Avid Symphony works in a Rec709 space and clearly operates with its video signal from 16-235 (which matches IRE 7.5 to 100), but Premiere doesn't seem to have this understanding in its programming and engineering. Here are my issues:
1) I can't manually enter in the digital values in the RGB Curve tool's points. Why would Premiere's engineers lock this basic feature out? It's in Photoshop.
2) I can't properly export Premiere's color bars. In order to export to Rec709 standards, to get around issue #1, I hack into the RGB Curves preset XML file to lift the Master Curve's point 1 from 0 to 16 and set the final white point from 255 to 235. If I use Premiere's bars, on the waveform, I can see the sub-black values, but when I lift the blacks with the curves preset, it clips all sub-black values upon export. WHY?! To get around this problem, I import bars generated by a camera (for example, by a Sony EX-350, i.e. XDCAM footage). All of this wouldn't be an issue if there were an export function that specifies exporting to rec709's 16-235 values instead of 0-255, as Avid does.
3) Particularly, the Waveform scope lies to me. The 7.5 IRE setup button does NOTHING for me, it's just a preview option that causes more confusion than clarity. Does Premiere map 0 out of 0-255 as 0 IRE or 7.5 IRE? I think it does the former and just uses that setup button to make you think that it's at 7.5. so if you do set it to 7.5, how then do you export it to match that option? Also, why can't the waveform scope have multiple options for the units - not just IRE, but also digital values (8-bit, 10-bit, linearized, etc.)?!
4) Speaking of importing the bars and footage. To continue the example of the Sony EX-350 - it imports the bars automatically by putting the black values at 0 IRE, not 7.5 IRE.
If Adobe wants industry professionals to take Premiere seriously, it needs to open up these options and clearly present what happens to tonal values in the image. It's very frustrating to figure out all of these problems and create cockamamy work-arounds.
http://www.avsforum.com/avs-vb/showthread.php?t=1090642
http://www.glennchan.info/articles/technical/setup/75IREsetup.html

Steve,
Thanks for your reply! However, I hope you don't take my response the wrong way, but, with no meaning of disrespect to you personally, the notion that curves are the wrong tool for numeric adjustments extremely infuriates me and displays a real lack of understanding of why a colorist or cinematographer such as myself would want to use curves in the first place.
First, any LUT generation program or coloring program, such as Apple Color, gives complete access to numerical control to give precise, repeatable changes that you cannot get with the drag of a mouse. Photoshop, Avid Symphony, etc. all have curves tools with the ability to manually enter points.
Second, on a user level, there should be no wrong tool for numeric adjustments, especially curves - they are the most precise means to obtain a specific contrast response. Levels or RGB corrector will only give gamma, pedestal, and gain operations, but curves gives every possible shape of a contrast response in between. If I wanted to create a very specific S-curve, I must use the curves tool to do so.
Third, the question at hand is not Premiere Pro's ability to process natively in Rec709 with signal from 16-235 - Premiere's native ability to process all types of video input is the sole reason why I've switched to it as a platform. 'Sub-black values are not necessarily clamped'?! How then can I export a TIFF, for example, of Premiere's bars, with the sub-black values left intact? How do I even access these sub-black values, when all footage clips below 0 IRE? The primary question is, how does Premiere handle and export these IRE values with respect to digital values, whether they are 8-bit, 10-bit, 12-bit, etc.?
Adobe's video workflow lacks a concise, cohesive FAQ or explanation of its numerical signal chain. At least, I have missed it and can't find it anywhere. If I want to properly color grade footage with a proper final output in mind, I need to know my end goals to take the proper intermediary steps.
SteveHoeg wrote:
Hey Tim - Premiere Pro can process natively in Rec709 with signal from 16-235 you do not need special adjustments. Curves are the wrong tool for numeric adjustments, try Levels or RGB Corrector. Sub black values are not necessarily clamped on export. --sh

Did the new update screw something up? My AME won't queue from Premiere

It was working fine last time I used it, but now when I go to File > Export > Media in Premiere, select my settings, and click Queue, it will open Media Encoder and then nothing will queue. The queue remains blank with the "Not currently encoding" dialogue. So I try again with Encoder already open. Encoder will flash for a second (move to the front of my screen in front of Premiere and then move behind it again), but still won't add anything to the queue.
So I restarted everything and tried again, no luck. So I uninstalled and reinstalled Premiere Pro CC altogether, no luck. Encoder will also not open a project or sequence to queue when I use encoder's internal File > Add Premiere Pro Sequence. I select Open, but the queue remains blank.
Could this be completely unrelated to the update? I installed the CS6 family recently so that I could use Encore, and I uninstalled everything but Encore shortly after. Could that have altered how Premiere Pro CC and AME CC communicate? Should I uninstall and reinstall my entire creative cloud? Thank you for your help!

I think AME installation has gotten corrupted somehow.
Please try each of these steps and see if they help:
1. Hold the shift key while launching AME. it will reset AME's settings. Perhaps one of these settings got corrupted.
try your tests, see if that helps.
If that doesn't help...
2. Well, I don't have any other solution except to uninstall AME and re-install it.
unfortunately, AME doen't have it's own installer. In order to uninstall AME properly, you have to uninstall all the apps that install it. So please uninstall all these CC apps if you have them on your system. Flash pro, Premeire pro, AE, Indesign, Prelude. Now check to see if AME is still on your system or not. It should be gone. if you still have AME 7.1 on your system, uninstall the remaining CC products until AME is uninstalled along with it. Make sure AME application is not on your system any longer. If you still have AME on your system, well, that's not good. we have to run a cleaner tool to remove it. hopefully it won't get to that point. Now that AME is uninstalled, you can re-install just Premiere Pro CC. See if the issue is resolved. Hopefully this will solve the issue.
Let us know if you still have issues after following these steps.

AME CS6 won't load Premiere sequence

Hello,
I recently started having issues with Media Encoder. I can export a sequence out of Premiere, one sequence at a time. However, when I click "Queue" to load the sequence into ME, then the message appears "Preparing data for export...", then Media Encoder opens, but there is nothing in the Queue. I have tried trashing the preferences in both Premiere and Media Encoder (ME-by holding Option when opening), and that hasn't fixed the problem.
Been running CS6 for about 2 years now and have never had this sort of problem, up until about 1 month ago. So far it hasn't been a huge issue, other than when I need to export multiple sequences out.
My system runs Mac OS X Lion 10.7.5. Adobe Suite CS6
Any help on this would be much appreciated.
Thanks a lot.
Joe

Jim, Thanks for the quick reply. The problem is indeed a missing codec, viz. intra100. There is a related problem that Adobe apparently has not solved: A/c to a technician. CS5 overwrites CS6 files and vice-versa (in creative cloud anyway). So, I am constantly having to re-activate CS6 because of using CS5 for things like markers.
The tech said they would be working on it (two or three months ago). Have you heard anything on this issue?
I am wondering if there is any simple way just to copy this particular coded for the moment.
Thanks again.

Pro Noob: CS6 Workflow - Coming From Premiere Elements

I have a question about workflow for Premiere Pro, specifically how to adapt my Premiere Elements workflow to Pro.
Currently, I'm using Premiere Elements to edit years' worth of home movie DV-AVI footage. More than once, PRE has crashed and left my project in an unrecoverable state (meaning I lost all the time I spent) so on the advice of some very wise Elements forum members, I developed the following workflow years back:
1. Open a new project
2. Import the next 100 DV-AVI files to be worked on (I import my tapes using SceneAlyzer which splits each scene into a separate file, so each file = 1 scene)
3. Cull the clips, plop them on the timeline, do the usual transitions / audio / music, etc.
4. Save my project about every minute (seriously, Ctrl+S is my best friend)
5. When I get to the point where I'd be uncomfortable if PRE blew up and I had to start my project from scratch, I export entire edited project to DV-AVI
6. Go back to Step 1.
When my exported DV-AVIs (from Step 5) total around an hour, I'll open a new "master" project, import all the "Step 5" exported DV-AVI files, plunk them down sequentially on the timeline, add menu markers, etc. and burn a DVD.
Now transitioning to Premiere Pro, I'm wondering
1. Has anybody ever had a Pro project get corrupted and become unuseable? It seems like one big project might be easier to work with, but I definitely have an aversion to "putting all my eggs in one basket".
2. Can I (or should I) use Sequences to accomplish what I was using multiple projects for in PRE? Sequences are new and foreign concept, and seem pretty powerful - like maybe I could use them in place of my "mini projects" in PRE. But unfortunately they are pretty much glossed over in everything I've read, e.g. the Adobe "Classroom In A Book" gives them maybe 1 page.
My #1 priority is not losing work. After that, whatever is easiest for dealing with the literally 1000's of files I have to go through...
So what's everybody's real-world / best practice advice for converting my Element workflow to Pro?

OK, I took a look at some of those resources, and read some more of the PP help. I think I have a much better understanding of what sequences are!
One "aha" moment came when the PP Help PDF pointed out that each sequence has its own separate, distinct timeline. I think part of my confusion was that in Premiere Elements, you just have a (single) timeline and all your clips go there. But in Pro, you can have multiple timelines. So in Elements, the timeline is by project (conceptually at least, not sure about technically), whereas in Pro the timeline is by sequence.
What was really helpful was a screenshot where they had 2 sequences in a project. And each sequence was "opened", so in the timeline frame, there were 2 timeline panels - and each panel's tab was the name of the sequence. I didn't realize until then that Pro could have multiple timelines, so that really illustrated how a sequence maintains its own timeline.
I even managed to grasp how in addtion to regular clips, a particular sequence's timeline could have other sequence on it, resulting in nested sequences. I'm not what would happen if you start trimming a nested sequence, but at least I get the concept.
So with a new and improved understanding how what a sequence is, that still left me wondering how people use them.
It seems one reason for sequences is when you different video types, say a project with DV-AVI and h.264 footage you'd create a sequence for each video type.
Another reason seems to be if you want to re-use a sequence. But I'm having a hard time thinking of an example where you'd want to do that.
Another reason seems to be simply to keep things organized and compartmentalized.
John mentioned he uses only one sequence. That would seem to be similar to how Elements does things.
Jim mentioned that he had a project with 1500 clips of one type of video, but used several sequences. So, I'm curious what each sequence was. How did you decide what a sequence should be?
How do other people use sequences???
That really clarified things, because Elements has no such thing - it has one timeline, period. Seeing how each sequence had its own distinct timeline made it come toge

How can I install Photoshop CS6 32 bit after 64 bit has already been installed?

I have installed Photoshop CS6 64 bit from a disk, but I need an additional 32 bit install for my scanner. Can anyone tell me how to do that, please?

Use the add windows feature from the windows control panel.
Or use PowerShell:
Add-WindowsFeature BITS
Here is a list over all the prereqs you need to install:
http://ccmexec.com/2013/01/powershell-script-to-install-configmgr-2012-sp1-prereqs-on-server-2012/
Ronni Pedersen | Microsoft MVP - ConfigMgr | Blogs:
www.ronnipedersen.com/ and www.SCUG.dk/ | Twitter
@ronnipedersen

Some scenes displaced when dyn. linked from Premiere CS4

Hi -
I've encountered an odd problem, and I was windering if anyone else has seen it. My system:
Win 7 64
Prod Premium CS4
When dynamic linking a sequence from Pr to Encore, the rendered sequence has a few seconds where the image is moved about 1/3 of the frame to the right and down. 5a few seconds out of a 60 minute project) I only see it in the Encore monitor window and on a burned DVD. The sequence in Pr looks fine, and it also renders out fine from Premiere. It's only when dynamically linked that this happens.
It has happened on two different projects, each time for about 5 to 10 seconds. The only way to solve the problem was to render out the problem bit from Premiere, then drop the new footage in the same position in the sequence. Encore is clealy not reading something correctly. The problem areas don't correspond to clips in the sequence, though, they go across clips.
What is odd is that one project was Cineform 1920x1080 25p, and the other project was HDV 50i. The Encore project is PAL DVD in both cases.
I have tried to see what the two problem bits did have in common, and it is these things:
They are both nested sequences, nested more than once.
Both had the fast blur effect applied at a transition (but the problem remained when it was deactivated)
Magic Bullet Looks was applied.
Please note that in the projects these same conditions didn't cause any problem at all 99% of the time. Has anybody else seen this before?

By default, the Ram preiew resolution is adaptative and not full quality, as it's just to "preview". You can switch this behavior to full quality, and by default, when you render, it will always be "Full quality" before being compressed by your output module.
You can check the Ram preview doc and the rendering doc from the AE help.
Hope that helps,
Seb

Loaded both CS6 and CS6 (64-bit) extended version...

I just loaded both CS6 and CS6 (64-bit) from disk (no download) onto my Windows 8 HP Envy computer.   I noticed both boxes were automatically checked by Adobe during the set-up. I left as-is to not cause problems thinking just one would load.   Both programs take 3.3 GB but that's not a problem for me.   I was surprised to see that I had a choice of TWO PS programs now on my computer.   I searched all over Adobe and can't find a similar problem.
Also, two versions of Bridge loaded; the regular and the 64-bit.
My question is this (applies to both CS6 and Bridge):   Do I need to remove one?   Why did both load?   If I should leave both, which one should I use?   Why does this happen?
My computer specs:
Windows 8
Memory:     10GB DDR3
System:     64 bit
Hard Drive:     1.5TB
Processor:     AMD Six-Core FX-6200
Thanks so much...Kathy

you should probably leave the 32 bit program.
there are certain plugins, printers, scanners and i-don't-know-what-else that won't work with the 64 bit program and will work with the 32bit program. unless you're certain you won't care about that, leave the 32 bit alone.

Round tripping from Premiere CC to Audition CC back to Premiere-no video

My last big project was on Adobe CS6 and roundtripped from Premiere to Audition and back to Premiere and it all worked out great. Been doing the recent project with Premiere CC to Audiition CC. Made the audio adustments in Audition, saved, etc and went to export under Multitrack>Premiere Pro(and keeping the individual stems). When I saw the new sequence in PP project panel and opened it up, but all I got were the edited audio tracks, but no video. I tried it three times and the same thing happened. I can't send out the finished movie without the video. And I won't start over and copy and paste the video over the new audio sequence(still on seperate video tracks before the final tweaking). What was changed from CS6 to CC?

Not a direct reply to your question but...
I have only exported video to Audition as a reference track- preferring to use the PP timeline for the master export. I somehow feel it's less prone to image quality loss (codec dependent!)
To that end, I add the imported Audition mix-down either as a single or multiple stems, depending upon the project requirements, and place them in sync in the original timeline.

Error compiling movie in Premiere and failed export in AME (CS6) - PLEASE HELP!!!

Hi,
I'm trying to export from my timeline which contains multiple mxf files shot with a canon xf105. i'm using cs6 on an apple mac and I never had this issue before:
When I try to export to a quick time movie directly from Premiere I get this message after 5 seconds:
When I send the video to AME I get this message including a sound of a sheep after 10 seconds:
I have about 100 7 second clips that make up an 11 minute movie. I copy and pasted 4 clips (28 seconds) into a new sequence and tried to export it and it worked, both directly through premiere and through AME. Does that mean that premiere and AME can't handle so many clips? Or why is it showing me an error?
I'm helpless and I need to finish this project very soon, I would be SO GRATEFUL for any help. Don't know what to do ..
Thank you!

Thank you John. I sat all night for about 8 hours on it and found out what caused the error. I had about 100 clips in my timeline that I was trying to export as one movie. Four clips caused the error. These four clips would playback perfectly in premiere, the whole timeline would render and everything seemed normal. Only after exporting 5 clips at a time I could see where the export would fail and show an error. At the end it was four clips, these four would playback fail to export, causing the entire sequence to fail.
I have one question about this:
1 How and why did this happen? Does that happen often with MXF files shot on a canon xf camera?
2 How can I avoid this to happen again in the future?
3 Isn't there a quicker way to find out which clips are causing a problem, rather than having to export each of them first to find out (which is a very annoying thing to do if you're literallt working with hundreds of clips)?
Would be great if somebody has any insight for future reference!!!
Thank you!

Is there a way to set a default "Source Range" in AME when exporting from Premiere Pro CC?

When exporting a sequence from Premiere Pro CC, you are able to toggle between 4 drop down options within Adobe Media Encoder on what Source Range you'd like to export (Work Area, Sequence In/Out, Entire Sequence, Custom) as seen here:
Is there a way to set the default Source Range to something besides Sequence In/Out?
My reason for asking is that sometimes I export multiple sequences at once using AME's Queue. I add my custom presets to each Sequence and hit export, but SOMETIMES I may have accidentally marked an in point on my timeline and by default it's set to export only that In-to-Out part of the sequence.
I know what you may be thinking...well, just don't add any In/Out points to your sequence on the timeline or clear them first. The trouble is that I often don't see them or catch them when working quickly. In Premiere Pro CC, I use the "Lighter Brightness" Appearance setting because it's easier on my eyes after editing 10 hours a day, 6 days a week. Sure, darker looks cooler, but it kills my eyes for some reason. Anyway, PPro CC has a troublesome appearance issue in CC where it's not "optimized" for editing when you change it to a lighter appearance like it was in CS6. I've already contacted Adobe about this and another appearance issue (involving highlighted clips when in Lighter Appearance setting) and they are "actively working on fixing this appearance issue asap".
For reference, here's Premiere Pro CC in/out points in default dark appearance (notice the slightly lighter grey area):
Now here's that same in/out in "Lighter Appearance":
Not exactly optimized. Can hardly see it. Good luck spotting that little guy on a long timeline. Sadly, this affects in/out points in the Source Window as well. Really hard to see.
Conversly, CS6 looked the best (the blue REALLY stands out making things easy to see):
So my question again...is there a way to set the default "Source Range" to something else besides Sequence In/Out so that I don't end up doing what I just did and leaving for several hours while batch exporting only to come back and find that I exported only a "portion" of one of my big sequences?
Thank you!

shooternz wrote:
Here is the solution: Slow down. Give your project some love. Smell the roses.
Agreed about the roses but alas my next project always calls. Actually, I think what happens is I give each project SO much love that when it comes to exporting, I've run out of time.
shooternz wrote:
Then it would not be a default...it would be an option and you already have that option.
Semantics aside, I would love to be able to have it at least default to whatever option was last chosen. Or, perhaps I shouldn't use the word default again...I'd love it to simply remember my preferred setting. That's all.

Keyed footage from Premiere Pro CC getting cut in half by AME

Hello all,
   I am having an odd sort of problem. Anytime I have a sequence from Premiere that includes Keyed footage (UltraKey), the render from AME cuts the keyed subject in half, resulting in a waist - down view. If I take that same sequence and export it directly from Premiere, this does not happen - it renders and exports fine - so the issue is definitely an AME one. Since I can export from Premiere, I'm not completely stuck, but I am editing a series of more than 50 videos with anywhere from 2 - 7 keyed segments in each one, and not being able to cue up a batch of renders, instead having to do them one at a time from Premiere is an absolute workflow (and deadline) killer.
    I have, of course taken all of the usual steps... Restarted the application, restarted the machine, checked for any updates, trashed and rebuilt preferences - twice (once using the Shift at launch method, the other by going to the preferences folder and deleting them directly) - nothing has made any impact on the situation.
    If this is some sort of known issue, i would appreciate some insight as to when it might be resolved.   If it is not, and there is something awry in my universe, then I need some assistance in figuring out a fix.
    Now the specifics:
     2012 iMac i7 @3.4GHz / 16GB / OSX 10.8.5 / PP CC 7.2.1 (4) / AME CC 7.2.0.43 (64-bit) / Mercury Playback Engine GPU Accelration (Open CL) from GeForce GTX 680MX with 2GB
Thank you,
- Will Frazier

Right - so switching AME's render engine from Open CL to CUDA resolved the problem for me... just in case anyone else has a similar issue.

Effects missing from Premiere CS6 export

Anyone had this issue with Premiere/After Effects CS6 ... Any effects I apply don't export when I export from Premiere. It worked fine on my other PC. Even after effects effects will export from after effects but are ignored when used as an embedded clip in Premiere. This includes third party and premiere effects. Fades and editing work, but not color grading. It shows in the previews and even in the media encoder window, but not in the final FLV or AVI.
No changes to operating system or 64 bit etc. And I'm using an nVidia GeForce 650 GTX card with 4000 MB ram on the card and 32000 MB ram on my motherboard.
GPU rendering isn't on since it's grayed out. Anyone know why, while we are on the topic.

What are you editing, and what are you exporting?
Information FAQ http://forums.adobe.com/message/4200840

Queueing to AME CS6 64-bit from Premiere

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