User Guide

ADOBE PREMIERE PRO 2.0
User Guide
371
• Are you adding special effects or processing the video and audio in other ways? Processing tends to degrade image
and sound quality, so it’s usually best to use the highest quality source material possible. If maintaining quality
outweighs other considerations (such as limiting file size and data rate), then choose a high-quality codec, or one
that doesn’t use compression at all.
• Do you want to paint on frames? If so, you can export frames as a numbered sequence of individual still-image
files, and edit each file in Photoshop.
• Do you want to use a single frame as a still image? If so, see “To export a still image” on page 380.
Exporting to various media types
It is important to understand the requirements of the media that will store and deliver your video project. When you
import and export using the same media type (DV videotape, for example), exporting is a relatively straightforward
task. However, when the media you used to import differs from the media you’re exporting to, you must tailor your
workflow accordingly.
Creating motion-picture film
Ifyouintendtodisplayyourfinishedprojectonmotionpicturefilm,youshouldplanyourworkflowcarefully.You
mayemployamatchback process, in which you shoot on film, transfer to video, and then conform the film negative
to your edits. On the other hand, you may choose to shoot and edit using a video format (ideally, a high-definition
format) and transfer the finished project to film. In any case, you will need to consider the important ways film and
video formats differ—such as in their image resolutions and frame rates—and how to reconcile those differences.
For the production phase, you will need to consider the acquisition format that best suits your needs. During post-
production, you may need to transfer the source footage to the appropriate format for editing, effects, and sound
design (using programs such as Adobe Premiere Pro, Adobe After Effects, and Adobe Audition). When exporting
from post-production software, you must determine the file settings appropriate to the film stock you will use, or
decide how to best translate your editing decisions to film. If you choose to transfer video to film, it’s likely you will
employ a facility that can accomplish the transfer using a film recorder, a device that prints video frames to motion
picture film frames. To determine the best course, consult the production and post-production facilities that will
provide the services necessary to deliver the project on film before you begin.
Creating a video file for CD-ROM playback
If you want your audience to be able to play back your video and audio files on a CD-ROM drive (rather than a DVD
player), you can record the file onto recordable CD media (known collectively as CD+/-R/RW). You must encode
your files so that they do not exceed the storage capacity of the CD: 650 MB or 700 MB. However, to ensure that your
files play back successfully, you must also encode them with your audience’s hardware and software in mind. In other
words, you may need to reduce a file’s data rate not only to limit its size to a CD’s capacity, but also to ensure smooth
playback on a range of systems. This is particularly true if any of your intended viewers use older CD-ROM drives,
such as single-speed and double-speed drives, or computers with older processors (CPUs). When choosing export
settings, you can take the following steps to adjust the data rate and ensure smooth playback:
• Determine your audience’s range of hardware and software configurations, and identify the limits of the
least-capable configuration. This way, you can set the frame rate low enough for smooth playback, and retain as
much quality as possible.
• Choose a file type and codec appropriate for the target audience. For example, for a cross-platform CD-ROM, you
might specify a codec that works on both QuickTime and Windows Media players. Or you might select a codec
designed for low data rates, such as Indeo, Cinepak, Sorenson, or MPEG-1.