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  • Back to Premiere. sigh.

  • Tom Sefton

    May 1, 2020 at 12:39 pm

    Had to revisit Premiere 2020 for a collaborative edit. My god it is slow compared with FCP. Scrubbing, previewing rushes, start stop on timeline all feel like the keyboard has been covered with treacle, and as a final complaint, how on earth do you cope with the media re-link tool in Premiere; it just doesn’t work anywhere near as well as FCP.

    This is on a brand new Mac Pro with afterburner and copious RAM installed, and a project made up entirely of ProRes assets. It’s not even close to Resolve, which is fast becoming our no2 editor…

    Co-owner at Pollen Studio
    http://www.pollenstudio.co.uk

  • Eric Santiago

    May 1, 2020 at 1:44 pm

    You just deal with it ☹

    I work equally now in Premiere and FCPX.

    The feeling is mutual.

    Throw in a few days of Avid here and there and you get to really appreciate how much faster you are in FCPX.

    And no, nothing to do with familiarity, started in Premier in 1994 and Avid 2001.

  • Scott Witthaus

    May 1, 2020 at 5:07 pm

    [Eric Santiago] “you get to really appreciate how much faster you are in FCPX.

    Just coming back to X from Premiere gig. I so agree!

  • Jeremy Garchow

    May 1, 2020 at 5:47 pm

    [Tom Sefton] “treacle”

    trea·cle
    /ˈtrēk(ə)l/

    noun
    noun: treacle; plural noun: treacles
    1.
    BRITISH
    a thick, sticky dark syrup made from partly refined sugar; molasses.
    2.
    cloying sentimentality or flattery.
    “enough of this treacle—let’s get back to business”

    Just adding to my son’s e-learning for the day as my new job of teacher’s intern continues….

  • Joe Marler

    May 1, 2020 at 6:43 pm

    [Tom Sefton] “all feel like the keyboard has been covered with treacle”

    Premiere has actually gotten much faster at a few things like H264 export. It is currently much faster than FCPX at 10-bit HEVC export, so it’s not slower on every single thing.

    But on the “high touch” and “common path” UI interactions (e.g. viewer update rate and lag time on JKL input) it can be quite sluggish, at least when tested on identical Mac hardware vs FCPX and Resolve. It is worse with some codecs than others.

    When testing 4k 10-bit 4:2:2 400 mbps H264 All-I from a GH5, I examined the viewer (aka program monitor) update rate on a 10-core Vega 64 iMac Pro running Mojave 10.14.6 when fast forwarding at 4x speed in the timeline, with Premiere set on 1/4 resolution and the FCPX viewer on “better performance”. I don’t remember how I configured Resolve but it wasn’t anything special. This was done by shooting the screen during 4x FF with a camera at 240 fps and counting real-world update rate.

    Resolve Studio 16.1.0.055: 28 frames/sec
    FCPX 10.4.7: 20 frames/sec
    Premiere Pro 13.1.5: 2 frames/sec

    Some performance differences can vary based on minor things. Even though the above test showed Resolve had a quicker viewer update rate than FCPX, this was only during continuous playback. If you grabbed the playhead and moved it back and forth, FCPX was faster.

    It’s ironic the Premiere playback engine is code-named Mercury. It’s like having a pet turtle named “Lightning”.

    Years ago a database called FoxBase was famous for being super fast. The CEO would walk among his developers with a stopwatch on a lanyard around his neck and demand impromptu timed performance tests of their code. I suppose nobody at Adobe has ever done that.

    Before Resolve got so fast, you could claim that FCPX was single-platform and their performance advantage derived mostly from that. However Resolve is multi-platform and it has become a real speed demon, but in general interactive use FCPX is still a little more responsive.

  • Jeremy Garchow

    May 1, 2020 at 10:17 pm

    [Tom Sefton] “how on earth do you cope with the media re-link tool in Premiere; it just doesn’t work anywhere near as well as FCP. “

    The “attach proxies” function in Premiere, though, is pretty killer.

    All I want for quarantine is better format relinking in fcpx.

  • Oliver Peters

    May 2, 2020 at 12:27 am

    Sigh ☺ You guys are sooooo funny. I regularly bounce between the apps and really don’t see any clear advantage to X over PPro. Sure, it skims nicely and handles media well. But Premiere’s media handling is pretty good these days. Maybe, as Apple would say, you are just holding it wrong ☺

    – Oliver

    Oliver Peters – oliverpeters.com

  • Tom Sefton

    May 2, 2020 at 6:57 am

    Gahhhhhh you can’t be serious.

    Premiere makes our new Mac Pro with an afterburner look like an old PC from years back making the jump to HDCAM footage from DV. If this was skimming over the actual 8K red rushes it might be acceptable, but this is 2K ProRes LT proxies – created in media encoder and stored in the root project folder called PROXIES. And somehow the search function still wants to go burrowing through my user library like some kind of hyperactive toddler with a short attention span.

    Want to change your timeline resolution in premiere? Nope. Create a new one and copy all your media there. I might add that this was a timeline of the resolution 1280×720 with 2K footage in there. Is this normal? Really? Do people actually accept this level of performance in premiere just because they’ve been told that fcpx is hard to use and difficult to understand and you need to rethink your approach to editing and all that jazz?

    Fcpx? Just change it. It’s that easy. As well as bouncing up to HDR or modifying your audio channels.

    Skim your play head around the timeline in premiere – it sticks to random sections like (molasses) and when you hit space bar it thinks. Not for long, but long enough for you to believe that something is happening….it’s no longer part of your finger or your thought, it’s now an obvious machine that has to think to do something of your bidding. Fcpx is so fast and reactive that you forget a machine is there.

    Just as a test I thought I’d sling the same footage at premiere that we are working on in fcpx. Multiple layers of 4/6K 60p ProRes 4444 footage with 2 colour adjustment layers on each, masks etc.. That….was hilarious.

    However – I jumped back into tracks with audio mixing like it was 2008. That’s quite a nice trip down memory lane – like meeting up with an old friend for a chat about music you like, until you realise they’ve been taking crystal meth for 12 years and they now can’t talk for 30s without swatting away imaginary flies.

    I know it’s another string to your bow as an editor, but how has premiere seemingly got worse than resolve?

    Co-owner at Pollen Studio
    http://www.pollenstudio.co.uk

  • Joe Marler

    May 2, 2020 at 11:08 am

    [Jeremy Garchow] “All I want for quarantine is better format relinking in fcpx.”

    Relinking in FCPX is both superb and terrible. Relink of regular media files on a single drive volume is superb – in fact it’s fully automatic.

    You could have 1,000 “in place” media files scattered across a huge RAID array, shut down FCPX, rename each file, move each file to a different location on that drive, then inside the library *delete* the symlinks to each of those files, then upon re-launch FCPX will automatically relink all the files and rebuild the symlinks. This is because the library not only stores the path but also the inode of each media file and uses that as a fall-back locator. Is there any other NLE that does this?

    By contrast relink of proxies is terrible – in fact it does not exist.

    In between those two extremes are other cases where FCPX relink doesn’t work that well. E.g, if the media files are renamed after import *and* they are moved to another drive. Since inodes are only unique within a volume, it can’t use that method. There are cases where relink requires doing one file at a time.

    Obviously one answer is “just don’t ever rename the files” after import, but there are reasons why this is done.

    How does Premiere handle this? Say you commit a lot of work to a project, then transfer the data set to a NAS and as part of that move the media files are renamed. Can it batch relink the entire data set? When I formerly used Premiere it would not do that.

  • Jeremy Garchow

    May 2, 2020 at 12:02 pm

    [Joe Marler] “Relinking in FCPX is both superb and terrible. Relink of regular media files on a single drive volume is superb – in fact it’s fully automatic.”

    Depends on the format. R3d to mov? No prob.

    Mov to mp4? Nope. Mxf to mov? Nope. Mxf to mp4? Nope. Mp4 to mxf? Nope. Mov to mxf? Nope.

    Try it. Take an mxf file, make any file format you want with matching audio, and try to relink it, automatically. It won’t happen. But if you select the file one by one, fcpx will relink. So for a project with several thousand files, linking one by one is agony and far from automatic. Since fcpx will relink one by one and not automatically, this seems like a bug.

    And as far as your sym link example, that works on some storage and not others.l, and yes it seems unique to fcpx.

    Premiere allows you to search by other criteria, including media start and allows you to deselect criteria like file name and extension.

    Fcpx is still much faster to work in though. I share all of Tom’s gripes with premiere, except format relinking. Premiere is better at this.

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