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Video Export Settings Guide
Getting your export settings wrong is one of the most quietly expensive mistakes in video production. The wrong codec means a platform re-encodes your file aggressively, softening detail you spent hours refining. The wrong frame rate introduces judder that was never in the original footage. A mismatched colour space shifts your carefully graded palette into something the client never approved. And a broadcast deliverable that fails QC sends the whole project back to the export queue while a deadline ticks closer. None of these problems involve creative decisions. They are all mechanical, preventable, and entirely about knowing which settings to use for which destination.
This guide covers the key export parameters and provides specific recommendations for every major delivery target. Treat it as a reference you return to when starting a new project or delivering to an unfamiliar platform.
The key settings explained
Before diving into platform-specific recommendations, it is worth understanding what each setting controls and why it matters.
The codec is the compression algorithm that encodes your video data. H.264 is the most widely compatible codec for delivery; H.265 (HEVC) offers better compression at equivalent quality but is not universally supported. ProRes and DNxHR are high-quality intermediate codecs used for broadcast, archival, and professional handoffs. The codec you choose determines the balance between file size, quality, and compatibility.
The container is the file format that wraps your encoded video and audio streams. MP4 (.mp4) is the standard container for H.264 and H.265 delivery. MOV (.mov) is common for ProRes and professional workflows. MXF (.mxf) is used in broadcast. The container does not affect quality directly, but using the wrong container for a given codec or platform can cause playback issues. For a fuller picture of how containers and codecs relate, the video file formats guide covers the distinctions in detail.
Resolution defines the pixel dimensions of your output. Match your export resolution to your source footage or to the requirements of your delivery platform. Common resolutions include 1920x1080 (Full HD), 2560x1440 (QHD), and 3840x2160 (4K UHD). Exporting at a higher resolution than your source does not add detail; it only increases file size.
Frame rate should match your source footage. If you shot at 24fps, export at 24fps. If you shot at 30fps, export at 30fps. Mismatched frame rates cause frame blending, judder, or dropped frames. The only exception is when a delivery specification explicitly requires a different frame rate, in which case your editing software handles the conversion.
Bitrate controls how much data is allocated per second of video. Higher bitrates mean more detail and less compression artefact, but larger files. Bitrate can be constant (CBR), where the same amount of data is used for every second regardless of complexity, or variable (VBR), where the encoder allocates more data to complex scenes and less to simple ones. VBR generally produces better quality at a given file size. Some platforms and broadcast specifications require CBR.
Colour space defines the range of colours your export can represent. Rec.709 is the standard for SDR content viewed on conventional displays. Rec.2020 is used for HDR content, paired with a transfer function like PQ (Perceptual Quantiser, used in HDR10 and Dolby Vision) or HLG (Hybrid Log-Gamma, used in broadcast HDR). Exporting in the wrong colour space shifts every colour in your project and can make footage look washed out or oversaturated.
Audio codec and bitrate matter more than many editors realise. AAC is the standard for delivery, with bitrates ranging from 128kbps for acceptable quality to 384kbps or higher for professional work. PCM (uncompressed) or WAV is required for broadcast deliverables. Sample rate is almost always 48kHz for video work. The audio formats guide and sample rate and bit depth explainer cover audio encoding in more depth.
File naming is a practical concern that affects every delivery. Use clear, consistent names that include the project title, version number, resolution, and date. Avoid spaces and special characters; use underscores or hyphens instead. A file named "ProjectName_v03_1080p_2026-09-30.mp4" is immediately identifiable. A file named "final_FINAL_v2 (1).mp4" is not.
YouTube
YouTube is the most common delivery target for online video, and its encoding pipeline is well documented. Uploading a high-quality source file gives YouTube's encoder the best starting point, which results in a better-looking video after their re-encode.
Container: MP4. Codec: H.264 is the safest choice and produces the most predictable results. H.265 is accepted and can deliver better quality at lower bitrates, but H.264 remains the standard recommendation. Resolution: match your source, up to 3840x2160. YouTube supports 8K, but 4K is the practical ceiling for most content. Frame rate: match your source. YouTube supports 24, 25, 30, 48, 50, and 60fps.
For SDR bitrate, YouTube recommends the following ranges for H.264 uploads. At 1080p with a standard frame rate (24, 25, or 30fps), target 8 Mbps; at high frame rate (48, 50, or 60fps), target 12 Mbps. At 1440p, target 16 Mbps standard or 24 Mbps high frame rate. At 2160p (4K), target 35 to 45 Mbps standard or 53 to 68 Mbps high frame rate. These are guidelines for upload quality; YouTube will re-encode regardless, but starting with these bitrates preserves the most detail through their pipeline.
Audio: AAC-LC at 384kbps for stereo content or 512kbps for 5.1 surround. Sample rate: 48kHz. Colour: Rec.709 for SDR content. For HDR uploads, use Rec.2020 colour space with PQ transfer function (HDR10) or HLG, and ensure your file includes the correct HDR metadata. YouTube's HDR pipeline requires specific signalling in the file; without it, HDR content displays incorrectly.
Use two-pass VBR encoding when your software supports it. The first pass analyses the footage and the second pass allocates bitrate more efficiently, producing better quality than single-pass encoding at the same average bitrate.
Instagram, TikTok, and Reels
Social platforms re-encode uploads aggressively, often reducing quality noticeably. The strategy here is to upload the highest quality file within the platform's constraints, giving their encoder the best possible source material.
Container: MP4. Codec: H.264. Resolution: 1080x1920 for vertical content (9:16 aspect ratio), 1080x1080 for square, or 1920x1080 for landscape, though vertical formats consistently perform better on these platforms. Frame rate: 30fps is the standard; 60fps is supported but some platforms may re-encode it to 30fps depending on the content type.
Bitrate: go high. Because these platforms compress so heavily on their end, uploading at 20 to 30 Mbps for 1080p content gives the platform's encoder more data to work with. The file will be larger and take longer to upload, but the final result on the platform will look noticeably better than a file uploaded at 8 Mbps. Some editors export at even higher bitrates for social delivery specifically because of this aggressive re-encoding.
Audio: AAC at 256kbps stereo, 48kHz. Keep audio levels peaking between -3dB and -1dB; social platforms normalise loudness, but starting with well-levelled audio avoids unexpected volume shifts.
Colour: Rec.709. Social platforms do not support HDR playback in a meaningful way for most users, so stick with SDR even if your project was graded in HDR. Export a separate SDR trim for social delivery.
Vimeo
Vimeo's encoding is generally kinder to uploads than YouTube's, and the platform supports higher source bitrates. The recommendations are similar to YouTube with some differences.
Container: MP4 or MOV. Codec: H.264 or H.265. Vimeo's documentation explicitly supports both, and H.265 can be a good choice here for 4K content where the improved compression efficiency helps. Resolution: match source, up to 8K for paid accounts. Frame rate: match source.
Bitrate: Vimeo recommends 10 to 20 Mbps for 1080p and 30 to 60 Mbps for 4K. You can go higher, and Vimeo handles large files well. Their paid tiers allow generous upload sizes. Audio: AAC at 320kbps or higher, 48kHz. Colour: Rec.709 for SDR; Vimeo supports HDR with Rec.2020 and Dolby Vision.
Broadcast delivery
Broadcast specifications are strict, and they vary between broadcasters, networks, and regions. Every broadcaster publishes a technical delivery specification document. Read it before you export, not after. A rejected deliverable costs time, money, and trust.
That said, certain patterns are common. The most widely requested codec for broadcast masters is Apple ProRes 422 HQ in a MOV container, or Avid DNxHR HQ in an MXF container. Some broadcasters accept ProRes 4444 for content with transparency or when the highest quality is required. H.264 is rarely accepted for broadcast masters, though it may be acceptable for web-only deliverables associated with a broadcast project.
Resolution is typically 1920x1080 for HD delivery or 3840x2160 for UHD. Frame rate requirements are strict and regionally dependent: 25fps (or 50i for interlaced) in PAL territories, 29.97fps (or 59.94i) in NTSC territories. Getting this wrong is one of the most common reasons for QC failure. Timecode must be continuous and correctly formatted, usually starting at 01:00:00:00 (one hour) for programme content.
Audio for broadcast is typically PCM (uncompressed) at 48kHz, 24-bit. Channel assignments follow the broadcaster's specification: stereo on channels 1 and 2 is common, but many specifications require discrete channel layouts with separate stems for dialogue, music, and effects. Loudness must conform to regional standards, typically EBU R128 in Europe (target -23 LUFS) or ATSC A/85 in North America (target -24 LKFS).
Colour: Rec.709 for SDR broadcast. For HDR broadcast, Rec.2020 with HLG is more common than PQ in live and near-live broadcast, while PQ is used for streaming and premium content. Legal levels (video limited to 16-235 in 8-bit or 64-940 in 10-bit) are typically required, meaning your blacks and whites must not exceed broadcast-safe limits. Most NLEs have a broadcast-safe filter or limiter for this purpose.
Before delivering, run your own QC checks. Verify timecode, check for audio sync issues across the duration, ensure no frames exceed broadcast-safe levels, and confirm the file plays back correctly in a standalone player. Sharing the deliverable securely with the broadcaster or QC facility matters too; large broadcast masters need reliable, fast transfer methods rather than email attachments.
Client delivery
Client delivery is less standardised than broadcast because "client" covers everyone from advertising agencies expecting ProRes masters to small businesses wanting a file they can play on a laptop. The single most important step is asking the client what they need the file for before you export.
If the client is passing the file to another post-production facility for finishing, conform, or further editing, deliver ProRes 422 HQ or DNxHR HQ. This preserves quality and gives the next facility clean material to work with. If the client needs a file for internal presentation, H.264 in MP4 at a high bitrate (15 to 25 Mbps for 1080p) provides excellent quality in a universally playable format. If they need files for web publishing or embedding on a website, H.264 at moderate bitrates (8 to 12 Mbps for 1080p) balances quality with loading speed.
Always deliver the resolution and frame rate that matches the project specification. If no specification was provided, match the source footage. Include a clearly named, separate audio file (WAV, 48kHz, 24-bit) alongside the video if there is any chance the client will need audio independently. For projects involving review rounds, using a platform with timestamped annotations keeps feedback organised and reduces the back-and-forth of vague email comments. Fabric provides review and approval workflows that keep all feedback tied to specific moments in the timeline.
Web and email delivery
Files destined for websites, email attachments, or general sharing need to balance quality with file size. H.264 in MP4 is the universal choice here. Target bitrates between 5 and 10 Mbps for 1080p, adjusting based on the content; talking-head footage with minimal movement compresses efficiently and looks fine at lower bitrates, while fast-moving footage with lots of detail needs more.
Consider two-pass encoding for web delivery. It adds export time but produces noticeably better quality at lower bitrates, which matters when you are trying to keep file sizes manageable. For email, most providers cap attachments at 25MB, which limits you to very short clips at reasonable quality. For anything longer, use a file-sharing service or cloud storage and send a link instead.
Resolution for web can be scaled down if the viewing context warrants it. A video embedded in a blog post at 640 pixels wide does not need to be exported at 4K. Match the resolution to the display size, and you save bandwidth for your viewers without sacrificing perceived quality.
Archival and masters
Your project master is the highest-quality version of the finished work, and it should be exported with preservation in mind rather than delivery efficiency. ProRes 422 is the minimum for archival masters; ProRes 422 HQ or ProRes 4444 is preferable. These codecs are designed for longevity and quality preservation, with broad software support that is likely to continue for decades.
Export at your full project resolution and frame rate. If the project was edited in 4K, the master should be 4K. Keep audio as PCM (uncompressed) at 48kHz, 24-bit, with separate stems if available. Alongside the master, archive your project files, raw footage, and any custom assets like LUTs or graphics. A master without the project files is a finished product you can watch but never revisit or re-edit.
Storage for masters adds up quickly. A single hour of ProRes 422 HQ at 1080p is roughly 60GB; at 4K, it is closer to 250GB. Plan your storage and organisation accordingly, and keep at least two copies in different locations. Cloud storage through a service like Fabric provides an off-site backup that is accessible from anywhere, which is particularly useful when a client returns months later asking for a revision.
Audio settings in detail
Audio export settings deserve more attention than they typically receive. For delivery to platforms (YouTube, Vimeo, social media), AAC-LC is the standard audio codec. 256kbps is acceptable for most content; 384kbps is better for music-heavy content or when audio quality is a priority. 48kHz sample rate is universal for video work and should be your default.
For broadcast delivery, audio must be PCM (uncompressed) at 48kHz, 24-bit. This is non-negotiable in most broadcast specifications. Loudness normalisation to the appropriate regional standard (EBU R128 or ATSC A/85) is required, and the broadcaster's QC process will flag any file that does not conform. Many NLEs have built-in loudness meters and normalisation tools.
For client delivery where the audio may be used independently (re-edited, remixed, or combined with other content), export a separate WAV file at 48kHz, 24-bit alongside your video file. This gives the client clean, uncompressed audio to work with regardless of what you embedded in the video container.
A common oversight is forgetting to embed audio at all. This happens more often than you might expect, particularly when working with separate audio and video tracks that are linked in the timeline but not rendered together by default. Always play back your exported file in a standalone player (not your NLE) to verify that audio is present, in sync, and at the correct level before delivery.
Common mistakes
Several export errors recur across projects and experience levels. Mismatched frame rates are among the most frequent: shooting at 24fps and exporting at 30fps, or mixing 50fps and 60fps footage in a timeline without accounting for the discrepancy. The result is either dropped frames or frame blending, both of which look noticeably wrong. Match your export frame rate to your timeline frame rate, and set your timeline frame rate to match your primary source footage at the start of the project.
Wrong pixel aspect ratio is a subtler issue. Most modern footage uses square pixels (1:1 pixel aspect ratio), but some legacy formats and certain broadcast specifications use non-square pixels. Exporting with the wrong pixel aspect ratio stretches or squashes the image. If your footage looks correct in the timeline but distorted in the export, check this setting.
Letterboxing errors occur when the export resolution does not match the aspect ratio of the timeline. Exporting a 2.39:1 widescreen timeline at 16:9 resolution adds black bars, which is fine if intended. But exporting a 16:9 timeline at 4:3 resolution, or adding letterboxing on top of footage that already has it, creates a windowed, postage-stamp-sized image. Verify your aspect ratios before you export.
Forgetting to embed audio, as mentioned above, catches people on deadline when they are exporting quickly and skip the playback check. Similarly, exporting with the wrong audio channel layout (mono when it should be stereo, or vice versa) creates problems that are easy to prevent. Always do a final playback check of the exported file on a different device or player before sending it to anyone.
Colour space mismatches are harder to spot but equally important. If your project uses a wide-gamut working space and you export without converting to Rec.709 for SDR delivery, colours will appear oversaturated on standard displays. If you export HDR content without the correct metadata, the file may play back as SDR with blown-out highlights. Verify your colour space settings in your export dialogue match the intended viewing environment.
Frequently asked questions
What is the best codec for uploading to YouTube?
H.264 in an MP4 container is the most reliable choice. It is universally supported, well understood by YouTube's encoding pipeline, and produces predictable results. H.265 is also accepted and can deliver slightly better quality at the same bitrate, but H.264 remains the safer default.
Should I export at a higher bitrate than the platform recommends?
For platforms that re-encode aggressively (Instagram, TikTok, Twitter), yes. Uploading at a higher bitrate gives the platform's encoder more data to work with, which typically results in a better-looking final video on the platform. For YouTube and Vimeo, matching or moderately exceeding their recommended bitrates is sufficient.
What is two-pass encoding and when should I use it?
Two-pass encoding analyses the footage on the first pass and allocates bitrate more efficiently on the second pass, putting more data into complex scenes and less into simple ones. It takes roughly twice as long as single-pass encoding but produces noticeably better quality at lower bitrates. Use it whenever file size matters and you have the time, particularly for web delivery and social media uploads.
Why does my export look different from my timeline?
The most common causes are colour space mismatches (your timeline uses a different working space than your export settings), different display rendering between your NLE and your playback application, and LUT or colour management differences. Check that your export colour space matches your intended delivery standard, and always verify the export in a standalone player rather than re-importing it into your NLE.
What format should I use for archival masters?
ProRes 422 HQ in a MOV container is the industry standard for archival. It offers excellent quality, broad compatibility, and the format is mature enough that playback support will continue for years. ProRes 4444 is appropriate when you need to preserve transparency or when the absolute highest quality is required.
Can I export once and use the same file for all platforms?
You can, but the results will be compromised somewhere. A file optimised for YouTube (landscape, moderate bitrate, 16:9) performs poorly on Instagram (which favours vertical 9:16 and benefits from higher upload bitrates). Exporting platform-specific versions takes more time but produces better results on each platform.
What sample rate should I use for audio?
48kHz is the standard for all video work and should be your default. Do not use 44.1kHz (the CD audio standard) for video projects, as it can cause sync issues and is not accepted by broadcast QC. If your audio sources are at 44.1kHz, convert them to 48kHz in your timeline before export.
How do I handle HDR export?
HDR export requires the correct colour space (Rec.2020), transfer function (PQ for HDR10 and Dolby Vision, HLG for broadcast HDR), and metadata embedded in the file. Your NLE must be set up for HDR grading from the start of the project, and you need an HDR-capable monitor to verify the output. Always export a separate SDR version for platforms and viewers that do not support HDR.
What is the difference between CBR and VBR?
CBR (constant bitrate) allocates the same amount of data to every second of video. VBR (variable bitrate) allocates more data to complex scenes and less to simple ones. VBR produces better quality at the same average file size and is the better choice for most deliveries. CBR is required by some broadcast specifications and streaming workflows where consistent data rates matter for infrastructure reasons.
Why was my broadcast deliverable rejected?
Common QC failure reasons include incorrect frame rate, audio loudness outside the specified range, video levels exceeding broadcast-safe limits, incorrect timecode, missing or incorrect audio channel assignments, and wrong codec or container format. Always read the broadcaster's technical specification before exporting and run your own QC check before submission.