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When you transfer a file, Premiere Pro duplicates the source file and creates a copy in a specified location. Changing intake gasket on pajero io h76w.
To transfer projects from one computer to another, do the following:
Select File > Project Manager. The Project Manager dialog appears.
Under Sequence, select the sequences you want to copy.
Under Resulting Project, choose one of the following:
- Collect Files and Copy to New Location: Creates a copy in the new location.
- Consolidate and Transcode: Transcodes the source media using a single codec, so they are all converted to the same format. Then copied everything to a new location.
Under Destination Path, click Browse to open the File Explore(Windows) or Finder(macOS). Choose a location.
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Under Options, select the options that you prefer.
Click Calculate to calculate the disk space that the copied file occupies.
When you have selected your preferences, click Run to create a copy of the source file in a new location.
While transferring project files from one computer to another, keep the following things in mind:
- Transfer all the assets associated with the project files.
- Keep the project files and their associated assets, on the destination computer, in folders that have names and folder structures identical with files on the computer of their origin.
It is possible to edit assets residing on file-based media, such as P2 cards, XDCAM cartridges, SxS cards, or DVDs. For best performance:
- Transfer files from their file-based media to a local hard disk.
- Using File Explorer (Windows) or Finder (macOS), transfer files from file-based acquisition media.
- Import the files on the hard disk into Premiere Pro projects.
While transferring assets from file-based media, keep the following things in mind:
- Transfer the folder containing all related files and its subfolders.
- Keep the folder structure intact.
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Transfer video files from file-based media intothe same folder you specify for captured video with the projectscratch disk settings.
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Premiere Pro can import many video and audio formats if the codec used to generate a specific file is installed locally. Most of these software modules are installed automatically with Premiere Pro.
For a list of file formats supported for import in Premiere Pro, see Supported file formats.
The Import command brings files that are already on your hard disk, or other connected storage devices, into your project. Importing files makes them available to a Premiere Pro project. You can import a single file, multiple files, or an entire folder. You can also export a Premiere Pro project from After Effects, and import it into Premiere Pro.
In Premiere Pro, you can import files by using the Media Browser or the Import command. To learn how to import media in Premiere Pro, watch this tutorial.
The Media Browser gives you quick access to all your assets while you edit making it easy to browse to files. Unlike the Import dialog box, the Media Browser can be left open and docked, like any other panel.
To import media using the Media Browser, do the following:
Go to the Assembly workspace or select Window > Media Browser.
The Media Browser panel opens. On the left, there is a list of folders. On the right, the contents are displayed. You can toggle between list view and thumbnail view.
A. Ingest B. Ingest settings C. File types displayed D. Directory viewers E. List view F. Thumbnail view G. Zoom slider- To open a folder recently opened, click the triangle in the Recent Directories menu, and select the folder.
- In the list of hard drives and folders in the Media Browser, click the triangles next to folder names to open them.
To view only files of certain types, click the Files types displayed icon, and select a file type. To select an extra type, open the menu again and make another selection. Repeat until all desired types have been selected.
Select one or more files from the list of files. To select more than one non-contiguous file, Ctrl-click (Windows) or Command-click (macOS) the filenames. To select more than one contiguous file, Shift-click the filenames.
Windows vista premium themes download. To preview the clip in the Media Browser, move the cursor over the thumbnail.
Alternatively, double click the clip to open it in the Source Monitor. You can also right-click the file in the Media Browser and select Open In Source Monitor.
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Do one of the following:
- Select File > Import From Media Browser
- Right-click the file in the Media Browser and select Import.
- You can drag the file from the Media Browser into the Project panel, or drag the file from the Media Browser into a Timeline.
The Media Browser imports the file into the Project panel.
The Premiere Pro Media Browser panel allows you to ingest media automatically in the background while you begin editing. To toggle the automatic ingest behavior setting to on/off in the Media Browser, use the ingest check box. The settings icon next to it opens the Project Settings dialog, where you can adjust the ingest settings.
A similar ingest check box in the Project Settings dialog is kept in sync with the Media Browser panel’s setting. When toggled on, users can choose one of four following operations to kick off automatically when files get imported into the project. You can continue to edit while the ingest process completes in the background.
- Copy - You can copy the media to a new location. Copying is typically used to transfer camera footage from removable media onto your local hard drive. The Primary Destination option available in the Settings transfer path is the same as the Primary Destination option available in Settings. After the media has finished copying, the clips in the project point to these copies of the files.
- Transcode - You can transcode the media to a new format in a new location. Transcoding can be used to transcode original camera footage to a specific format used within a post-production facility. The filename path is the same as the Primary Destination option available in Settings, and the format specifies the chosen preset. After the media gets transcoded, the clips in the project point to these transcoded copies of the files.
- Create Proxies - You can use this option to create and attach proxies to the media. It creates lower-resolution clips for increased performance during editing, which can be switched back to the original full resolution files for final output. The filename path where the proxies are generated is the same as the Proxy Destination option available in the settings. This format specifies the chosen preset. After the proxies get generated, they are automatically attached to the clips in the project.
- Copy and Create Proxies - You can use this option to copy media and create proxies, as covered in the earlier steps.
All four options come with a set of default presets, which have the file destinations set to 'Same as Project'. Alternatively, you can also choose a custom destination or your Creative Cloud Files folder, which syncs the files automatically to the cloud. Use Adobe Media Encoder to create your own 'Ingest' presets.
Note:
While you can import clips directly from file-based media connected to your computer, it is best to first transfer clips from these media to a hard disk. Then, import them from the hard disk.
Stock market chart software mac. To import files with import commands, do the following:
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- Choose File > Import. You can select multiple files.
- To import a recently imported file, choose File > Import Recent File > [filename]. (The filename doesn’t appear if Premiere Pro preferences have been reset.)
- To import a folder of files, choose File > Import. Locate and select the folder, and then click Import Folder. The folder, with its contents, is added as a new bin in the Project panel.
- For instructions on importing a numbered still-image sequence as a clip, see Importing numbered still-image sequences as one clip.
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Some filename extensions—such as MOV, AVI, and MXF denote container file formats rather than denoting specific audio, video, or image data formats. Container files can contain data encoded using various compression and encoding schemes. Premiere Pro can import these container files, but the ability to import the data that they contain depends on the codecs (specifically, decoders) installed.
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Video and still-image files that you want to import must not be more than the maximum dimensions allowed. The maximum sequence frame size in pixels is 10,240×8,192 (width x height). If you attempt to set one of the Frame Size dimensions higher than this limit in the Sequence Settings dialog box, Premiere Pro resets the value to the maximum.
The maximum frame size to import still images and movies is 256 megapixels, with a maximum dimension of 32,768 pixels in either direction. For example, an image that is 16,000×16,000 pixels is acceptable, as is one that is 32,000×8,000, but an image that is 35,000×10,000 pixels cannot be used.
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Whether a frame can be processed by the GPU acceleration part of the Mercury Playback Engine depends on the size of the frame compared to the amount of GPU memory. A frame requires ((width x height) / 16,384) megabytes to be processed by GPU acceleration. If that value exceeds the available memory, Premiere Pro uses the CPU only for rendering of the current segment. This means that some images do not use CUDA acceleration on some cards and use CUDA acceleration on others. For example, one image size from a Canon T2i is 5184 × 3456. This requires 1,094 MB, which just exceeds the 1 GB available on the Quadro FX 3800, but is still within the 1.5 GB of the Quadro FX 4800.
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Supported native video and audio formats for import
Adobe Premiere Pro supports several audio and video formats, making your post-production workflows compatible with the latest broadcast formats.
| Format | Details |
| 3GP, 3G2 (.3gp) | Multimedia container format |
| AAC | Advanced Audio Coding |
| AIFF, AIF | Audio Interchange File Format |
| Apple ProRes | Apple video compression format. Apple ProRes is a high-quality codec and is widely-used as an acquisition, production and delivery format. Adobe has collaborated with Apple to provide editors, artists, and post-production professionals with comprehensive ProRes workflows for Premiere Pro and After Effects. Support for ProRes on macOS and Windows streamlines video production and simplifies final output, including server-based remote rendering with Adobe Media Encoder. |
| ASF | NetShow (Windows only) |
| ASND | Adobe Sound Document |
| AVC-Intra | Panasonic codec |
| AVI (.avi) | DV-AVI, Microsoft AVI Type 1 and Type 2 |
| BWF | Broadcast WAVE format |
| CHPROJ | Character Animator project file |
| CRM | Canon Cinema RAW Light (.crm) files created by cameras such as the Canon EOS C200 |
| DNxHD | Supported in native MXF and QuickTime wrappers |
| DNxHR | DNxHR LB, DNxHR SQ, DNxHR TR, DNxHR HQ, and DNxHR HQX |
| DV | Raw DV stream, a QuickTime format |
| GIF | Animated GIF |
| H.264 AVC | Various media that use H.264 encoding |
| HEIF | High Efficiency Image Format (HEIF) capture format supported on both Mac OS 10.13 or higher, and Windows 10 (version 1809 or higher). On Windows, both the HEIF image extension and the HEVC Video Extension need to be installed. For information on HEIF image and HEVC Video extensions, see HEIF Image Extensions and HEVC Video Extensions. |
| HEVC (H.265) | H.265 media with resolutions up to 8192*4320 |
| M1V | MPEG-1 Video File |
| M2T | Sony HDV |
| M2TS | Blu-ray BDAV MPEG-2 Transport Stream, AVCHD |
| M2V | DVD-compliant MPEG-2 |
| M4A | MPEG-4 audio |
| M4V | MPEG-4 video file |
| MOV | QuickTime format |
| MP3 | MP3 audio |
| MP4 | QuickTime Movie, XDCAM EX |
| MPEG, MPE, MPG | MPEG-1, MPEG-2 |
| MTS | AVCHD |
| MXF | Media eXchange Format. MXF is a container format that supports:
|
| Native MJPEGs | 1DC |
| OMF | Audio Project Format |
| OpenEXR | Files in .EXR, .MXR, and .SXR formats |
| R3D | RED R3D RAW file |
| Rush | Existing projects from Premiere Rush |
| VOB | Container format in DVD media |
| WAV | Windows Waveform |
| WMV | Windows Media, Windows only |
Note:
Not all QuickTime codecs are supported by default. Some codecs require third-party components.
Premiere Pro lets you work with a wide range of native media formats from the latest DSLR cameras without transcoding or file rewrapping.
The media formats listed here are supported for directly importing and editing with Premiere Pro. The required codecs are built in to Premiere Pro, and supported on both Mac OS and Windows systems unless stated otherwise.
Premiere Pro provides built-in support for the ARRI AMIRA camera, with appropriate color LUTs applied as master clips on import.
Premiere Pro provides the ability to import ALEXA LF (Large Footage) file format.
You can work natively with Canon XF and Canon RAW footage, including footage from Canon Cinema EOS C300 and C500 cameras.
Premiere Pro lets you import and edit QuickTime formats natively including Apple ProRes and MOV files that Canon 5D and 7D cameras capture. You can clip metadata without any transcoding, rewrapping, or logging and transferring required.
Premiere Pro lets you import and edit uncompressed CinemaDNG media from the following cameras:
- Blackmagic Cinema Camera
- Blackmagic Pocket Cinema Camera
- Convergent Design Odyssey7Q
When working with CinemaDNG media, you can access the Source Settings and edit the metadata parameters. CinemaDNG can be debayered on a supported GPU for extreme playback performance.
You can native import and edit media from the following cameras/camera codec formats:
- Panasonic AVC Ultra
- Panasonic AVCi 200
- Panasonic AVC Ultra Long GOP (Group of Pictures)
- Panasonic P2 cameras and across multiple P2 cards
You can also view Panasonic Camera acquisition metadata in Premiere Pro's Metadata panel. This provides an easier starting point for grading.
The following metadata fields are now available for supported Panasonic cameras:
- Camera Manufacturer
- Camera Model
- Video Codec
- Video Bit Rate
- ISO Sensitivity
- White Balance Color Temperature
- Capture Gamma
- Capture Gamut
You can natively import and edit Phantom Cine media shot on Vision Research Phantom cameras.
Premiere Pro supports working natively with RED Digital Cinema (R3D) footage from the following cameras & codec formats:
- Color Science like REDcolor2, REDgamma2, and REDlogFilm
- RED ONE
- RED EPIC
- RED Scarlet-X cameras with support for RED Rocket
- Red Dragon including RED Dragon 6K
Note:
RED format clips use the GPU (OpenCL and CUDA) for debayering for an improved and faster playback performance.
You can import and edit media from the following cameras directly, without rewrapping or transcoding:
- Sony XDCAM
- Sony XDCAM 50
- Sony XAVC
- Sony XAVC LongGOP (Group of Pictures)
- Sony XAVC-S
- Sony SStP
- Sony RAW (F65, F55, F5, FS700 cameras)
- Sony Venice V3
You can browse the imported clips using the Media Browser and organize them using camera metadata.
To learn more about working directly with native camera formats, seethis video tutorial.
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Supported still‑image and still-image sequence file formats
Note:
Premiere Pro supports 8bpc (4 bytes per pixel) and 16bpc (8 bytes per pixel) still-image files.
| Format | Details |
| AI, EPS | Adobe Illustrator |
| BMP, DIB, RLE | Bitmap |
| DPX | Cineon/DPX |
| EPS | Adobe Illustrator |
| GIF | Graphics Interchange Format |
| ICO | Icon File (Windows only) |
| JPEG | JPE, JPG, JFIF |
| PICT | Macintosh Picture |
| PNG | Portable Network Graphics |
| PSD | Photoshop |
| PTL, PRTL | Adobe Premiere title |
| TGA, ICB, VDA, VST | Targa |
| TIFF | Tagged Interchange Format |
Supported closed captioning and subtitle file formats
| Format | Details |
| DFXP | Distribution Format Exchange Profile |
| MCC | MacCaption VANC |
| SCC | Scenarist Closed Caption File |
| SRT | Subrip Subtitle format |
| STL | EBU N19 Subtitle File |
| XML | W3C/SMPTE/EBU Timed Text File |
| Format | Details |
| AAF | Advanced Authoring Format |
| AEP, AEPX | After Effects project |
| CHPROJ | Character Animator Project |
| CSV, PBL, TXT, TAB | Batch lists |
| EDL | CMX3600 EDLs |
| PREL | Adobe Premiere Elements project (Windows only) |
| PRPROJ | Premiere Pro project |
| XML | FCP XML |
Premiere Pro supports growing files for those needing this workflow. Growing files are files that are still being written to disk and will grow in duration after they are ingested. These files automatically refresh their duration based on a preference you can set in Premiere Pro.
Supported codecs for growing files within an MXF wrapper
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- AVC-Intra Class 50/100
- IMX 30/40/50
- XDCAM HD 50/35/25/18 RDD9 (The low latency version of XDCAM HD is not supported)
- OP1B files
Support for growing files to automatically refresh, and how often they must refresh, is available in Media Preferences. The updated duration can be viewed in the Project panel and the Source Monitor. The refreshed duration is also available for editing in the Timeline. See Media Preferences for more details.
Growing files can only be imported if Premiere Pro can read the volume where they are stored. Premiere Pro can read footage from an unc path('//somewhere/something'), but the drive must be mapped('H:somewheresomething'). The file can then be imported using the File > Import command. You can then edit with these clips as you would normally edit any other clip.
Variable Frame Rate (VFR) is a video compression term that refers to the format of videos where the frame rate changes actively during video playback. Most videos created using mobile devices (such as iOS and Android), and e-learning applications (such as ScreenFlow, or Twitch) are of VFR format.
Select the footage, and click File > Get Properties for > Selection. Premiere Pro indicates if it detects VFR footage.
Alternatively, you can right click the clip in the Timeline panel and select Properties.
Preserve audio sync for Variable Frame Rate footage
You can incorporate variable frame footage from devices such as mobile phones and the DJI Phantom without having to adjust the audio-video sync manually.
Select a VFR clip in the Project panel or the Source Monitor, and click Master Clip Effect in the Effect Controls panel.
This option decodes the source so that the audio and video is in sync. Preserve Audio Sync works by adding or dropping frames, which can result in choppier-looking video. Preserve Audio Sync is the default for all VFR clips that have audio.
This option decodes all the available frames in the source and does not make any effort to maintain audio-video sync. It results in smoother motion in the video. You can choose this setting if you are doing motion graphics work and care more about getting all the available video frames. Smooth Video Motion is the default when Premiere Pro does not detect audio in VFR clips.
- If you plan to use proxy, consolidate, or transcode workflows, it is better to transcode VFR material to a constant frame rate before editing.
- If you have manually synced VFR footage in previous versions of Premiere Pro, resync that footage when opening the project in Premiere Pro 12.0.1 or later versions.
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