Working efficiently in any encoding tool requires two levels of knowledge; First, you have to know how to use the program. Second, you must know the requirements of your target platform to ensure that your file plays optimally on that platform.
In this course, you'll learn both. First, you'll learn how to use the Adobe Media Encoder as efficiently as possible, with multiple tips and tricks to maximize encoding quality and performance. And you'll learn the requirements of multiple target platforms, from general-purpose streaming, mobile playback and uploading to YouTube, to disc-based productions like Blu-ray and DVD.
You'll learn that in some cases, the presets included with Adobe Media Encoder are spot on. In others, they need some adjusting to maximize quality, playback compatibility or both. In some very rare cases, you probably shouldn't use the Adobe Media Encoder to produce your files at all.
This tutorial will provide an overview of the Adobe Media Encoder interface and show you the many ways that you can load files into the encoding queue.
In this tutorial, you'll learn how to set settings for the Adobe Media Encoder's most important preferences.
In this tutorial, you'll learn about the Adobe Media Encoder's presets. We start with a review of the formats supported in Adobe Media Encoder Creative Cloud, and then learn how to create, customize, save, import and export Adobe Media Encoder presets.
In this tutorial, you'll learn how to work in the Encoding Queue, learning how to add presets, change encoding priorities, pause, stop and resume encoding, and how to encode multiple files as efficiently as possible on multiple-core computers.
In this tutorial, you'll learn how to scale and crop in Adobe Media Encoder while avoiding black bars and aspect ratio problems. If you're experiencing any of these issues, watch this tutorial to resolve them.
The new effects tab lets you add a Lumetri look to file before encoding, as well as text, timecode and graphics file overlays. These can be very useful when you don't want to edit the file in Adobe Premiere Pro or After Effects. In this tutorial, you'll learn how to apply these effects.
This tutorial describes how Adobe Media Encoder handles deinterlacing. The short answer is that AME deinterlaces anytime you produce a progressive file from interlaced source, but there are no compression controls to adjust.
Watch folders are great for efficiently encoding files, and for sharing encoding capabilities over a workgroup. In this tutorial, you'll learn what a watch folder is, what it's good for, how to create one and how to configure the format and preset.
Encoding for streaming is always a trade-off, where you balance data rate and resolution to produce a file you can deliver to your viewers in real time. In this lesson you'll get a quick review of those parameters, and then learn how to compute and apply the single most important metric in streaming, bits per pixel. Then you'll see the configurations used by major corporate websites and broadcasters, plus get a cheat sheet the will instantly help you identify the ideal configuration for your streaming video. You can opt for the short answer delivered 40 seconds in, or stay for the entire lesson and round out your knowledge of streaming encoding.
H.264 is the current "it" codec you'll use for a range of target platforms, from desktops, to mobile, to OTT and when distributing via Flash and HTML5. In this tutorial, you'll learn which H.264-related audio and video options Adobe Media Encoder makes avaialble, and how to configure them.
In this tutorial, you'll learn to encoding compressed audio and video files to add to a DVD. We'll start by looking at the DVD spec, and practical requirements of encoding for DVD playback. Then we'll learn to choose and configure the best preset for your content and apply that preset in the Adobe Media Encoder.
In this tutorial, you'll learn to encoding compressed audio and video
files to add to a Blu-ray disc. We'll start by looking at the Blu-ray spec, and
practical requirements of encoding for Blu-ray playback. Then we'll learn to
choose and configure the best preset for your content and apply that
preset in the Adobe Media Encoder.
No matter what you do, YouTube is going to re-encode your video after you upload it. So you better upload the highest possible quality files you can, and follow several other rules to get the best possible result. In this lesson, you'll learn the "rules according to YouTube" so the videos you show the world on YouTube will look their best. you'll also learn how to encode for uploading to other user generated content sites, as well as online video platforms like Wistia and Brightcove.
Encoding for mobile playback isn't hard; it's just very technical and precise, and if you don't know the rules, you may produce a file that won't play on your target device. In this lesson, you'll learn the rules for encoding for playback on Apple and Android playback.
Adaptive streaming is the preferred technique for delivering video to a range of viewers on varying devices and connections because it optimizes the experience for all viewers. In this lesson, you’ll learn how to produce files for adaptive streaming with the Adobe Media Encoder.
To use the Adobe Media Encoder effectively, you need to know quite a bit about a lot of topics, like codecs and compression, container formats, file characteristics like resolution and data rate, bitrate controls like constant and variable bitrate encoding, and delivery concepts like single file and adaptive streaming. This document defines all these items, plus lots more, as you can see in the Table of Contents below.
Ozer is the owner and chief blogger at the Streaming Learning Center. Ozer has been compressing video since 1993, and wrote his first book, Video Compression for Multimedia, in 1994. Since then, Ozer has written over 20 books on video production and compression, most recently Producing Streaming Video for Multiple Screen Delivery, and the Visual QuickStart Guide to Adobe Premiere Pro CC, both in 2013. Ozer has also published screencam-based instructional materials for multiple publishers, including Lynda.com, Video2Brain and Online Inc, and training and marketing screencams for companies like Adobe, NewTek, Matrox, Vislink, DVEO, Winnov, Telestream and VideoGuys.
As a contributing editor to Streaming Media Magazine, Ozer has tested most cloud, enterprise and desktop encoding tools, and has written many articles and tutorials regarding their use. Ozer is a frequent speaker on streaming and video production-related topics at industry events, including Streaming Media conferences, NAB, and other conferences worldwide.
Ozer consults widely on live and on-demand streaming and encoding-related topics, including preset creation, encoder usage and optimization, webcast production, streaming workflow efficiency, and online video platform selection. Ozer also produces streaming and production-related training for a range of enterprises, which have included Kroger, NASA, Lockheed, the Federal Reserve, the US Navy, John Hopkins University, and HBO. In the Virginia region, Ozer shoots concerts and other events for live or on-demand streaming and for distribution via Blu-ray and DVD.