Workflow and hardware implications of H264 4k for FCP X vs Premiere?
A recent post on EOSHD.com discussed 4k editing performance Premiere CC 2015 on a very high-end PC:
In short his only real solution was externally transcode all files to a lower-compression codec before importing.
In FCP X we have a seamless proxy workflow and I definitely use that for 4k, esp. multicam.
As the industry moves toward 4k, what is the solution for Premiere users? My group mostly uses FCP X but we have a couple of people on Premiere CS6 and 4k is looming as a wall. I would hate to adopt some external transcoding or manual proxy solution just for them.
What is the common practice for Premiere users editing camera-native H264 4k? Is there some super-hardware solution or some configuration trick that makes smooth timeline editing doable for camera-native H264 4k material? Or does everyone just transcode externally prior to import?
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