ProRes is an outstanding family of codecs, even if Adobe Premiere Pro is your principle editing tool. However, Adobe did not create any ProRes presets until the current (2019) version.

Here’s how to create a ProRes setting in both current versions Adobe Media Encoder (AME) and earlier.

How to Export Adobe Premiere Pro CC to ProRes in Windows. While scanning the web, we found more than one guys are stuck in the issue - how to export ProRes from Adobe Premiere in Windows: Q1: 'Exporting to prores proxy was an essential step for me when uploading files to vimeo. It preserved grain and a bunch of other details. This is one of those. With the latest Adobe updates, ProRes 4444 and ProRes 422 export is available within Premiere Pro, After Effects, and Media Encoder on macOS and Windows 10.

NOTE: Here’s an article on how to create a ProRes sequence setting in Adobe Premiere.

WHAT IS PRORES?

“Apple ProRes is a high quality, lossy video compression format developed by Apple Inc. for use in post-production that supports up to 8K. It is the successor of the Apple Intermediate Codec and was introduced in 2007 with Final Cut Studio 2. It is widely used as a final format delivery method for HD broadcast files in commercials, features, Blu-ray and streaming.

“ProRes is a line of intermediate codecs, which means they are intended for use during video editing, and not for practical end-user viewing. The benefit of an intermediate codec is that it retains higher quality than end-user codecs while still requiring much less expensive disk systems compared to uncompressed video. It is comparable to Avid’s DNxHD codec or CineForm which offer similar bitrates and are also intended to be used as intermediate codecs.” (Wikipedia)

All variations of ProRes have a video bit-depth of 10 bits or greater.

NOTE: AME does not ship with the ProRes codecs. The easiest, and cheapest, way to get them is to purchase either Apple Motion or Compressor. Either includes all the ProRes codecs.

FOR OLDER SYSTEMS

Open Adobe Media Encoder and click the plus icon in the top left corner. Then, select Create Encoding Preset.

NOTE: Create Ingest Preset creates import presets for Adobe Premiere Pro CC.

This opens the Preset Settings window.

Give your new preset a name, then, from the Format menu, pick QuickTime.

NOTE: QuickTime is a word with many meanings: it is both a movie format and a “foundation” for a variety of older codecs. The QuickTime 7 Foundation is going away with macOS 10.15 and later. However, the QuickTime movie format is fully supported by Apple and continuing.

After you select QuickTime, the Based on Preset menu changes to include a variety of ProRes settings. (This menu will look different depending upon which version of AME you are running.) Here, I’m selecting ProRes 422. Which version should you pick?

It depends upon the video you initially shot. (Remember, ProRes is designed for editing and master files, not for posting to the web.)

• If your camera shoots ProRes natively, there’s no reason to convert it to a different version of ProRes.
• If you are working with SD or HD media, choose ProRes 422
• If you are working with RAW, HDR or Log files, choose ProRes 4444
• If you are working with files created on the computer, i.e. After Effects or Motion, choose ProRes 4444
• If those After Effects or Motion files contain transparency that you want to retain, choose ProRes 4444 with alpha

NOTE: Converting a lower-quality camera format, such as H.264, to a higher-quality format, such as ProRes 422, does not add more quality. It just means that you won’t lose any quality during the conversion.

The rest of the Basic Video Settings are fine.

As you can see from the settings in the Audio panel, ProRes defaults to fully uncompressed, stereo audio using a 48,000 Hz sample rate and 16-bit depth. You can adjust audio bit-depth up to 32-bit.

NOTE: Audio bit depth controls the gradation of audio volume. 16-bit is fine for recording and distribution. Most audio mixing is done at 32-bit depth.

NOTE: When creating final output, be sure to check Use Maximum Render Quality. This will improve the look of effects in a final output. It is not necessary when transcoding from 8-bit video to ProRes.

I also recommend against Use Previews. Using previews saves time by reusing existing render files. However, I prefer to create all new renders for my final output. Again, for transcoding camera masters this setting does not apply.

When you have adjusted your settings, click OK.

FOR CURRENT SYSTEMS

For current system, Adobe created a new ProRes category containing all six ProRes variations.

You’ll find them in System Presets > Broadcast > Apple ProRes

NOTE: What about Apple ProRes RAW? This is created at the camera during initial recording, NOT in transcoding, because it needs to record the Bayer pattern (pixel locations) directly from the camera sensor. You would NEVER transcode existing media into ProRes RAW because the video is no longer “linked” to the camera sensor.

Here’s an article that explains ProRes RAW further.

OPERATIONS

The new setting now appears in User Presets & Groups. At this point, you can apply it to clips the same as any other compression setting.

NOTE: Here’s a webinar that covers how to use Adobe Media Encoder.

To export a file using Adobe Media Encoder, select a format in the Export Settings dialog box for the output. The selected format determines the preset options that are available. Select the format best suited for your desired output.

Adobe Media Encoder is used both as a stand-alone application and as a component of Adobe Premiere Pro, After Effects, Prelude, Audition, and Animate. The formats that Adobe Media Encoder can export depend on which of these applications are installed.

Some filename extensions—such as MOV, AVI, and MXF —denote container file formats rather than denoting a specific audio, video, or image data format. Container files can contain data encoded using various compression and encoding schemes. Adobe Media Encoder can encode video and audio data for these container files, depending on which codecs (specifically, encoders) are installed. Many codecs must be installed into the operating system and work as a component inside the QuickTime or Video for Windows formats.

Depending on other software applications that you have installed, the following options are available.

Note:

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As of September 15 2017, Adobe Creative Cloud apps now rely on your operating system (OS) to decode/encode Dolby Digital and Dolby Digital Plus audio formats. Adobe no longer bundles the native libraries from Dolby with Creative Cloud products.

For information about how this change affects Dolby audio playback in your product, see Adobe Creative Cloud apps use native OS support for Dolby.

Note:

MXF is a container format. Adobe Media Encoder can encode and export movies in the Op-Atom variety of MXF containers using the DVCPRO25, DVCPRO50, and DVCPRO100, and AVC-Intra codecs. Premiere Pro can export MXF files containing the MPEG-2 essence items that comply with the XDCAM HD format used by such systems as Avid Unity. The stand-alone Adobe Media Encoder can also export files in this format.

Still image and still-image sequence formats that support match source

• Animated GIF
  
• Bitmap (BMP; Windows only)
• DPX
• GIF (Windows only)
• JPEG
• OpenEXR
• PNG
• Targa (TGA)
• TIFF (TIF)

Note:

Toexport a movie as a sequence of still-image files, select ExportAs Sequence on the Video tab when a still-image format is selected.

• Advanced Audio Coding (AAC), Version 1, and Version 2
• Audio Interchange File Format (AIFF)
• mp3 format
• Waveform Audio (WAV)

• Facebook 720HD
  
• Twitter 720P
• Vimeo 480p SD, 480p SD Wide, 720p HD, 1080p HD
  
• Web Video DG Fast Channel 480/512 MPEG-2
• YouTube 480p SD, 480p SD Wide, 720p HD, 1080p HD, 2160p 4K

Codecs support for Adobe Media Encoder installed with other products

• With Adobe Premiere Pro, After Effects, and Prelude: All codecs are supported. However, HEVC is not supported during the trial period in Adobe Premiere Pro, After Effects, and Prelude.
• With all other products: All codecs are supported except
  • AS-11 SD
    
  • HEVC
    
  • MPEG-2
  • MPEG-2 DVD
  • MPEG-2 Blu-ray
  • MXF OP1a

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