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Improved Histogram offers a brighter and crisper display for both Standard Dynamic Range and HDR content.Ī larger window and easier selection make curve adjustments more enjoyable and more efficient. Double-click the Vectorscope to zoom in for more detail. Use the new Colorized Vectorscope to guide your grading. New color management for Sony XAVC-L-HDR footage gives broadcasters and production teams another option for working with HDR content. New hardware-accelerated decoding for 10-bit H.264 422 provides a smoother editing experience with this format on Apple M1 computers. Improved playback for 10-bit H.264 on Apple M1

New hardware-accelerated decoding for 10-bit HEVC 422 provides improved playback and editing on Apple M1 and Intel Windows systems. New color management for H.264 and HEVC formats, including 10-bit and HDR media, means that the correct color space is used in Premiere Pro when importing or exporting these formats. Improved transcription accuracy for pop culture terminology and better formatting of dates and numbers.Ĭreate a clean copy of the current sequence for sharing with other editors, archiving, or exporting as EDL, XML, or AAF. With this release, Adobe video and audio applications are aligned on version 22.0, making it easier for you to keep track of updates and ensure compatibility across the applications. Premiere Pro 22.0 introduces Simplify Sequences, transcription improvements for Speech to Text, new color management, Lumetri refinements, hardware acceleration for 10-bit 422 HEVC, and more. To hit this target we use 1280x720 instead of HD, VBR 2 pass, 1.4MBit average data rate and audio encoded mono at 96k. * I have one client that needs most encoded programs to be lower than 50MB in size. 2 pass VBR is generally not worth the extra time it takes*. As long your encodes are set to reasonable datarates and you don't specifically need the absolute smallest possible encodes (file size). Both usually provide better (or as good) encodes at significantly lower oevral file sizes than CBR (Constant Bitrate). It then uses this analysis data on the second pass when actually encoding to assign more 'bits' to the scenes that have (say) high complexity motion and less 'bits' to (say) static scenes with no or little motion.ġ pass VBR just encodes 'on the fly' and can't encode frames 'knowing' what's further long in the program.Įffectively 2 pass VBR will give you better encodes at a slightly lower datarate than 1 pass VBR. The first pass in a Variable Bitrate 2 pass encode is an analysis pass which looks at the video content of the program and looks for high motion, low motion and complexity.