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Have I hit the limit of what Premiere can handle? Cutting a 4k doc, I don’t think a new $40k 2019 Mac Pro would even improve things…
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That’s interesting, Barefeats seems to generally disagree (other than imac pros) which is why I held onto the hope that my 3.46 12 core could hold me off until figuring out what the hell to do with the 2019 mac pro / hopefully waiting a year to buy one after they’re released to make sure those first run bugs are ironed out.
Lots of barefeats articles similar to this one:
https://barefeats.com/hic2_nv_vs_vega.htmlEDITOR
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[Bryan Roberts] “Barefeats seems to generally disagree (other than imac pros) which is why I held onto the hope that my 3.46 12 core could hold me off “
Everyone will get different results depending on workflow, media, etc. So I don’t put a lot of stock in benchmark tests. I’m just going from my own experiences with similar types of material. One thing to factor in is that Adobe is dialing in performance improvements with each update. With macOS, that specifically means optimizing for newer hardware, OS versions, and things like Metal. Obviously some of that is a factor.
– Oliver
Oliver Peters – oliverpeters.com
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PS: One thing to remember is that Premiere likes fast single core speeds. With CPUs, the more cores, the slower the speed on each core. So depending on the app, fewer, but faster cores may give you better performance than having a lot of cores in the CPU.
Also, Apple has deprecated support for Nvidia cards, specifically CUDA acceleration. So while an Nvidia card is great in a PC, it’s a detriment now in a Mac running a current OS version.
– Oliver
Oliver Peters – oliverpeters.com
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Agree 100%. This is why I’m thinking now maybe it WOULD be worth getting a Vega 64 or Radeon 7 so I can jump to Mojave rather than being stuck on High Sierra (ultimately, this is just to buy me another 1-1.5 years before eventually biting the bullet and getting a 2019 mac pro tower). I would imagine Adobe is putting more resources on optimizing for the latest OS as you’ve said. While the $100 or so price jump from Vega 64 to Radeon 7 is a non-factor and Radeon 7 looks to be a beast as well as a good deal more powerful than a Vega 64, I wonder if it’s a smarter move to go Vega 64 since that card is stock in the iMac Pro and I’m guessing Apple will have spent more time optimizing its drivers vs Radeon 7 which they currently don’t offer in any configuration sold by them.
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[Bryan Roberts] “I wonder if it’s a smarter move to go Vega 64 since that card is stock in the iMac Pro and I’m guessing Apple will have spent more time optimizing its drivers vs Radeon 7 which they currently don’t offer in any configuration sold by them.”
That’s a good question, but I don’t know. I personally own a mid-2009, which currently has a Radeon 7950 (replaced a Quadro 4000). That’s been the home machine, but it’s largely off these days. I don’t edit at home as much, so my main machine is a mid-2014 MBP, including for editing. It performs as well with HD. Long, hard renders are easier on the Mac Pro, though. I don’t feel like I’m torturing the machine ☺ Also I do some FCPX work and the MBP does way better with FCPX, especially 4K, than the tower.
But back to your tower. I think it’s a bit of an unknown how your machine will do. You’ve modded it from its original 2009 version, so technically it’s not meant to run Mojave, nor be optimized for Metal. I suspect you are moving into trial-and-error land. ☺
– Oliver
Oliver Peters – oliverpeters.com
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Do you use audio plugins at all in your timeline? Audio effects can bring any system to a grinding halt due to the real time processing required to play back.
If the timeline is completely filled with pro res proxy files then like Andrew previously stated there’s simply no logical reason to have dramatic performance issues.
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[Bryan Roberts] “Ah, this is an interesting angle. So, full disclosure, I keep a very messy timeline. I always have since FCP days almost 2 decades ago. I cut almost 20 features, some that went theatrical, in my FCP days and never had any performance issues with messy timelines. I use clip enable / disable all over the place to give myself easy option choices so when I go back to a scene, I can see my alt shots I had in my head etc.”
Yeah, in FCP Legend the big thing to worry about was the overall project size, I haven’t run into a similar issue w/PPro. PPro’s hangup, at least in my experience, has been the number of edits in a sequence as well as the number highly-edited sequences in a project. I dupe my edit timelines a lot (a whole lot) and that didn’t sit w/PPro well either (maybe it’s been fixed now, I don’t know). Every day I’ll create a new project by duping my previous one and then clear out all but the most recent couple of timelines from my “old cuts” bin.
[greg janza] “Do you use audio plugins at all in your timeline? Audio effects can bring any system to a grinding halt due to the real time processing required to play back.”
That’s a good point too. One project I worked on got completely brought to it’s knees by the iZotope filters I was using (just basic denoisers) and when I contacted iZotope they basically said, “Yeah… we really, really, *really* recommend you export those clips and bring them back in.”
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[Andrew Kimery] “One project I worked on got completely brought to it’s knees by the iZotope filters I was using (just basic denoisers) and when I contacted iZotope they basically said, “Yeah… we really, really, *really* recommend you export those clips and bring them back in.”
“I’ve had good luck with audio plug-ins. A few caveats, though. I limit audio plug-ins to track effects and rarely use them on individual clips. Premiere has export problems with some plug-ins, especially when grouped with others. For example, noise reduction plug-ins seem to conflict on export. Typically this class of clean-up/processing plug-ins is best used when bounced out to Audition using render and replace. Any complex audio mixes that involve a lot of plug-ins should be done in Audition anyway. Or ProTools.
– Oliver
Oliver Peters – oliverpeters.com
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[Andrew Kimery] “That’s a good point too. One project I worked on got completely brought to it’s knees by the iZotope filters I was using (just basic denoisers) and when I contacted iZotope they basically said, “Yeah… we really, really, *really* recommend you export those clips and bring them back in.””
I’m not sure if the Izotope folks are fully aware of how problematic their plugins can be with Premiere. I’ve been working at a client location where initially I was on a trash can mac and more recently it was upgraded to a new imac pro. Both of these systems were repeatedly plagued by seemingly random hard crashes that drove me completely batty.
IT support determined that the crashes were being triggered by Izotope plugins. Those plugins are really fantastic but I’ve been forced to eliminate them completely from my Premiere workflow due to the fact that they can cause massive system instability as well as the fact that they require a lot of CPU power.
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Also interesting point. I use compressor quite a bit for dialogue and have it set to internet delivery (I only do online screeners and then a mixer will do a proper mix once we lock).
Guys, I’ve proxied most of the footage BUT I’ve also rendered the entire timeline which is rendering the raw media I’d assume. It’s 4k ProRes 422… Which shouldn’t be difficult to play but it’s not prores proxy ☺ .
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