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Last updated 11/30/2015
Be aware of lighting. Poor lighting is a greater problem with mobile devices and can reduce visibility on small
screens. Shoot and adjust with this limitation in mind.
Avoid excessive panning or rolling.
Use the following tips when editing video with Adobe Premiere Pro and After Effects:
Set the frame rate for the output movie according to output device or output type. For example, a commercial in
After Effects might be rendered at 15 frames per second (fps) for distribution on mobile devices, but at 29.97 fps for
broadcast television in the USA. In general, use a lower frame rate. A frame rate of 22 fps is a good compromise for
reducing file size without losing quality
Make the movie as small as possible and remove any extraneous content, especially empty frames. Many actions can
be done pre-encoding to limit file size. Some of them apply to shooting techniques, while others (for instance, using
motion-stabilization tools in After Effects or applying a noise-reduction or blur effect) are post-production tasks
that facilitate the compression portion of the encoder.
Note: For tips on making movies smaller, see the online Help for After Effects and Adobe Premiere Pro.
Match the color palette to the correct mobile devices. Mobile devices, in general, have a limited color range.
Previewing in Device Central can help determine if the colors used are optimal for an individual device or range of
devices.
Adjust clips. Grayscale view is helpful to compare values.
Use the presets available in Adobe Media Encoder. Several presets are designed for export to 3GPP mobile devices
in Adobe Media Encoder. 3GPP presets come in standard sizes: 176 x 144 (QCIF), 320 x 240, and 352 x 288.
Crop wisely. A common practice is to work at standard DV project settings and output to a combination of DV,
DVD, Flash, WMV and mobile 3GPP. Use the usual presets, but at encoding time manage the difference between
4:3 or 16:9 video and the 11:9 aspect ratio of mobile 3GPP. The AME crop tool allows constraint to arbitrary
proportions in the same manner as Photoshops Crop tool and adds an 11:9 constraint preset to the existing 4:3 and
16:9.
Work at an aspect ratio consistent with mobile output. New project presets (available only on Windows) make this
easy. The frame dimensions are larger than the ultimate output size (working at 176 x 144 can be difficult, for
example, for titling), but they match the output-frame aspect ratio to facilitate easy encoding. Each Windows project
preset renders to uncompressed video, but most computers can manage the data rate at these reduced frame sizes
and halved frame rates. (This process is for projects where the only output is for mobile devices.) Two frame aspect
ratios account for the majority of support in mobile devices: 4:3 (QVGA, VGA etc.) and 11:9 (CIF, QCIF,
Sub-QCIF). These two common project settings are included in the Adobe Media Encoder “Mobile & Presets
folder.
Exporting OMF files for Pro Tools
You can export all the active audio tracks from an entire sequence in Premiere Pro to an Open Media Format (OMF)
file. DigiDesign Pro Tools imports OMF files, when the DigiTranslator feature is licensed. With DigiTranslator in Pro
Tools, you can sweeten soundtracks from Premiere Pro.
Note: The OMF files exported by Premiere Pro are not officially supported for platforms other than ProTools. Premiere Pro
does not import OMF files.
Export an OMF file for Pro Tools
1 In a Timeline panel, select a sequence.
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