![]() ![]() If you are using anything other than software only for the Mercury Acceleration setting, whether CUDA, Metal, or OpenCL, ignore the Render at Maximum Depth option in both the Sequence and Export dialog boxes, as it does absolutely nothing. Should I Use the “Render at maximum bit depth” option? This then tells Premiere to order the CPU to process the data from the image in the manner that the GPU, which uses the full 32-bit float math all the way through, rather than dropping into eight-bit, which the CPU might if you don’t have that selected. In that case, you must check the maximum bit depth option. Suppose the Mercury Acceleration option is set to software only in the Project Settings, then in the Sequence Settings dialog box or the Export dialog box. If you don’t have a GPU, software only will be the only option displayed. ![]() If you have a GPU that Premiere can use, you’ll see options here like CUDA for the Nvidia cards or Metal for AMD cards, maybe even OpenCL. The Mercury Acceleration option, how this is set, determines whether the render and maximum depth options are needed for renders and exports. There is a crucial bit of setup information, though, and it’s in the Project Settings dialog box. Premiere can be used with other workflows with other screens, but it takes a lot of special setup, practice, and testing to ensure you can do it. 709 with a Gamma of 2.4, and 100 nits brightness on the monitor. The broadcast workflow is defined as Video sRGB, Rec. They decided that it would be used primarily for a broadcast workflow. The engineers in the design phase did a very different route with Premiere Pro. In Premiere Pro, we don’t have that, so people assume it doesn’t have color management. Davinci Resolve applications have a whole series of menu options to choose from as the user to tell the program what your color space is for your images coming in, what your working color space is, what your monitor is, what your exports are going to be. Our expectations as a user come out of using things like Photoshop and After Effects. Let’s say it’s the difference between expectations and reality. One of the big differences that Premiere has between it and any other app and why it causes so much problem, and confusion is it’s designed very differently. How Color Management and Exporting Highest Quality Video From Premiere Pro is different from other software 709 broadcast compliant workflow, and I’ll explain that from import through processing and exports and all the work that goes with that set up your system and everything. We will be looking at Premiere Pro the way it was intended as a straight SDR Rec. Welcome back to Filmmaking Elements in this article, we talk about Premiere Pro: Color Management & Export Highest Quality, a Colorist Guide. ![]() Understanding the export pipeline in Premiere Pro ![]()
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