Size of project Files

[Marisu Fronc]

Some of the projects I’ve had the most issues with are indeed over 100Mb – 106, 117, and 122 for three recent troublemakers. However, I’ve also had major problems with some projects in the 65 – 75 Mb range that used lots of PSD’s and one that was only around 21Mb but had dynamic links to AE for all the animation (at least, for a while it did – removing the dynamic links and replacing them with .avi’s rendered out of AE solved that problem). Definitely over 100 Mb seems to be where the big problems start (for me at least)

slainte,
marisu

[Mike Velte]

I suspect a large amount of assets is not the total cause of large project files. I suspect a large cause is editing in the timeline…dragging clips around, changing in and out points…rearranging stuff continuously…basically just too much mouse clicking in the timeline. I have seen relatively simple project files grow to 50-75 MB apparently because the editor dropped his assets directly into timeline in no certain order and spent hours rearranging things.

https://www.video2stream.com

[Marisu Fronc]

Not in my case, just tonnes of asssets – although it puzzles me to hear that an editing program that can’t handle editing?!

slainte,
marisu

[Vince Becquiot]

Marisu,

I’m just curious, and please don’t take offense to my comment. I have only seen your name in a couple of threads, and in both cases you are basically stating that Premiere can’t handle your projects, the latest that it can’t handle editing, yet your profile states that you are using 3 Discreet 5 editing system. Now, correct me if I’m wrong, but you are comparing the performance of a $600.00 software NE to that of a hardware based product selling between $8000.00 and $10000.00 (times 3)?

Most of us are independent filmmakers, or videographers, and don’t really see a need in the performance you are requiring.

My two bits.

Vince

[Marisu Fronc]

Vincent-

No offense taken – my remark was in response to Mike Veldt’s comment that large project sizes (the ones that seem to cause the most problems) are often caused by editing on the timeline – I was just totally shocked by that thought . . . once you have a rough cut and are trying to fine tune it to meet your director’s/producer’s/customer’s needs how else WOULD you fine tune the edit except on the timeline?

As far as our editing systems go – yes, we do still have 3 Discreet systems, we have hundreds of projects that we need to redo in Premiere as they get updated – but our editing is all being done now on our 5 seats of Premiere (updating my COW info hasn’t been my highest priority, I’m lucky if I have time to post at all). Of course, as we are definitely having problems with the size and quantity of projects we are working on that may not continue for much longer – then I’ll have 2 legacy systems to have to update projects from.

I understand that many of the people using Premiere do not have the needs of the company I work for. I didn’t choose the software (nor did I choose edit, nor the Grass Valley editor I used in the linear suite before that). My job is to edit the product I’m asked for with the tools I’m given to work with. If your needs are simpler and Premiere is working fine for you that’s wonderful, I’m merely trying to see what (if anything) I can do to manage the task I’ve been set – that’s been my goal for the last 20+ years and will continue to be my goal in the future.

slainte,
marisu
marisu

[Pat Mcgowan]

No disrepect intended here but the moniker “PRO” implies that the software will be able to handle “PRO” project types, like docs that often involve thousands of media assets.

If not, perhaps it should be renamed without the “PRO” moniker.

[Harm Millaard]

Or a Pro would be expected to plan his work flow in such a way that it would be manageable, efficient and productive…..

[Vince Becquiot]

“No disrepect intended here but the moniker “PRO” implies that the software will be able to handle “PRO” project types, like docs that often involve thousands of media assets.”

There must be a PP bashing contest going on 😉

For comparison sakes, go drop just 20000 clip in Final Cut “Pro” and tell me what happens… Or don’t, I can tell what will happen, it’ ll crawl just as well. We all know that Pro doesn’t mean anything, it’s marketing. But if you are working on those kind of project you are probably getting paid more than I am, and can probably afford something in the Discreet arena.

Vince

[Steve Mac kenzie]

I appreciate the replies, I notice that the other 30,000 clip thread is continuing here and it is a good discourse because A) it is always good to see someone the limits of the software and B) it makes my problems seem alot more manageable. 30,000 clips… almost as bad as a wedding video 🙂 Other than Mr. Fronc is there a concensus that over a certain size the projects start having issues?
Thanks Again
Steve

[Pat Mcgowan]

What an inciteful and helpful (or should I say Harmful) retort.

We, like many other “PRO” users, took a major risk going with the Adobe PPRO “solution” on AXIO hardware after the EOL fiasco of Discreet Edit (a product that did not have any issues with large numbers of media assets).

Yep, we could have joined the throngs and migrated to FCP but we didn’t. Does Adobe care enough to do what it takes to retain customers like me and lots of other “PRO” users I know that share similar, and valid, concerns about the product? I guess we’ll see, won’t we? Or is is simply a case of Caveat Emptor?

I feed my family with these tools. Therefore, I expect a “PRO” product promoted to me as “PRO” to handle “PRO” working situations for real paying clients who, for your information, don’t give a hoot about the limitations of the software. They just take their next job to a competitor.