What's the best output option in Adobe Premiere Pro CS5?

[edDV]

Hi.

If one is editing high-definition video (- 1920x1080, captured from a camera, in .m2ts format, let's say -), what kind of output would be the best, in terms of maintaining the best quality first (and a decent file size secondly)?

In what format do you output, and why, if different than what you're suggesting?

The question would be for Adobe Premiere Pro CS5, but if you've had a great experience with another program feel free to say.

Thank you very much.

Back to the original post and now we know you have adequate computer hardware, I'd like to summarize my recommendation.

You asked for ...

the best, in terms of maintaining the best quality first (and a decent file size secondly)

You didn't identfy the specific "m2ts" camcorder format so best guess would be AVCHD 1920x1080i or 1440x1080i. Alternate might be HDV 1440x1080i (MPeg2 TS) or ATSC 1080i/720p (MPeg2 TS).

My response was 1920x1080i in one of the Blu-Ray presets (MPeg2, h.264 or VC-1). The "decent file size" requirement points to 1080i h.264 but the potential downside is player compatibility for 1080i h.264. More universally compatible would be 1080i MPeg2 which also requires less demanding computer specs for editing and playback but at the cost of higher bit rate (25-35 Mb/s for best quality).

That begs the question of what h.264 bit rate to encode from Premiere Pro CS5? I'd say nominal would be the same format used in the camcorder which would be in the 16-28 Mb/s range for AVCHD. That results in a file that is near identical to the original camcorder format and will be acceptable in most players or editors. Note that the original AVCHD Disc (h.264/MPeg2 on DVDR) limit was 16 Mb/s but most Blu-Ray players seem to accept 24 Mb/s and maybe higher. I'd keep the container m2ts for AVCHD compatibility.

The case for higher bit rates - The pro name for the file we are making is "Edit Master". The workflow assumption is that future format conversions will be made with this file as source. We are already one generation down having re-encoded the original camcorder files. In this workflow, a case can be made that you encode your edit master at max bit rate CBR (~35 or even 50 Mb/s h.264 or MPeg2) or with VBR skewed to higher bit rates say 25-35 Mb/s to get better downstream recodes.

The case for a progressive edit master - IMO this only makes sense if the camcorder source was shot progressive (e.g. 1080 60p, 1080 24p, 720 60p).

The case for a 30p edit master - IMO this only makes sense if the camcorder source was shot 30P.

Special considerations for the Mac - As said a separate player will play the files above on a consumer Mac and FCP users can deal with AVCHD format import. But if export to OSX is expected, it makes sense to do a second edit master as h264/aac in mp4 container.

Special considerations for Youtube - While you're at it you might want the create a third master h264/aac stereo in mp4 at ~15 Mb/s 30p for Youtube upload. This will save a generation loss. You may need to scale back bit rate to fit Youtube file size limits.

[edDV]

I forgot DVD export.

You might as well make a 720x480i DVD MPeg2 (skewed to high bit rates) master file as well from Premiere Pro. Better quality can be achieved by frame serving to avisynth for downsize and MPeg2 re-encode.

[budwzr]

Regarding the .avc output,....

Can someone clue me in on what is ".AVC". I never heard of it.

Is that AVC Intra?

[poisondeathray]

Regarding the .avc output,....

Can someone clue me in on what is ".AVC". I never heard of it.

Is that AVC Intra?

.avc is elementary h.264/avc video stream

the extension for elementary avc stream can be .avc, .264, .h264

AVC-Intra 100 is Panasonic's brand name for I-frame 100Mb/s AVC . It usually comes .mxf wrapped