As to whether it’s hard coded or due to flags on the file (either seem hit and miss), I’m not entirely sure and I’ve even tried reaching out to Technicolor to get their expert opinion. Here is how I interpret your findings: I don’t trust Quicktime’s native encoder because of the gamma issue.

This page goes over some of the fundamental differences between the two containers. If you’re using more advanced features of either container, it may be worth a true rewrap using FFMPEG or FFMBC after encoding. MP4, as a container, is based off Quicktime so a quick renaming of file extensions often allows the use of MP4 files in programs that only accept MOV. The use of the MainConcepts codec is superior and MOV and MP4 can be used interchangeably in many workflows. Checking the option for frame reordering will turn on the use of B frames. This codec is limited to the Main profile and Premiere Pro limits Quicktime to single-pass operation. We also have Quicktime’s native h.264 codec.

It also appears that the multiplexing controls restrict the use of B frames for Apple devices while also changing the ID of the MP4 container for compatibility with certain device families. and seems to have no bearing on controlling the number of B frames. Level, to a point is selected based on framerate, frame size, etc. You’ll notice that the M value and number of B frames is almost solely dependent on the selected h.264 profile. It’s no big secret that this is MainConcept’s h.264 codec with more streamlined controls. I have to give a special thanks to Creative Cow contributor Ivan Myles for bringing up this conversation and digging in to find some of the information I’m about to present.īefore we dive into things, if you aren’t familiar with h.264 or know what GOP, M and N values, P frames, or B frames are, then I suggest the following resources:Ī Guide to Common Video Formats: Containers, Compression, and Codecsįirst we have Premiere’s h.264 codec in the MP4 container. I compressed that video with FFMPEG/x.264 and I’ve been using it ever since for fine control. While Premiere allows you to edit keyframe distance (GOP size), it doesn’t let you control the amount of B frames directly. I remember editing a commercial about 2 years ago where I was given a deliver spec with very specific needs about GOP size, B frame count, and so on. Premiere Pro tries its best to hide some of the more advanced aspects of it’s two h.264 encoding methods but there comes a point where sometimes we need to dig a bit deeper. H.264 is the de-facto standard for file based video delivery, a fact we all know and live with.

Adobe premiere export mp4 h264