[Chris Wright]

1. are you resizing anything?
2. does your export not say best quality and same resolution?
3. is maximum quality checked?
4. use adobe media encoder instead. try a quick PNG or Tiff with Trillions of colors in a 1 frame encode.
5. try software render only.

[Chris Wright]

has anything changed, no matter how insignificant?

1. trash preferences file hold shift+option down same time while opening premiere, and hit yes, delete preferences
2. anti-virus scanning?
3. drivers updated?
4. delete media cache and temp files
5. set your audio preferences to asio back to mme again
6. disable auto-save (remember to backup every hour with a different filename to external)
7. add premiere in NVidia Control Panel as an application for discrete gpu
8. deleting all preferences/clean media cache files/also in Roaming folder
9. Make Sure The Composite Preview During Trim is Turned Off and also make sure your Reference Monitor is Also Closed it Will Help Solve the Choppy Playback
10. go to:file-project settings-video renderer-is it greyed out? CUDA enabled?
11. toggling off the High Dynamic Range setting and LUT’s in the setting menu of the Lumetri Color panel improves gpu
12. disable “High Quality Playback” setting in the monitor wrench menu improves gpu
13. disable mercury transmit
14. memory set to performance or memory
15. freezing up on mac permission issue
https://blogs.adobe.com/kevinmonahan/2014/09/10/premiere-pro-cc-freezing-on-startup-or-crashing-while-working-mac-os-x-10-9-and-later/
16. was premiere’s RAM allocation changed?
17. can you backup to Timemachine before the problem? (backup your project to external first!) last resort!

[Chris Wright]

check your wrench for composite video. each monitor keeps its own settings for video output.

[Chris Wright]

what is the media type? does any other different media display the same problem?

do they work if you transcode with prelude to prores/dnxHd/Cineform before importing?

[Chris Wright]

hi,

does it get stuck for a really long time conforming? it could be corrupt media cache files you can safely delete.
also, if your footage isn’t handled well, you can pre-conform via prelude to a smart codec like prores or dnxhd which doesn’t need to be recompressed when rendering. If you setup smart rendering correctly, it will export 4-12x faster.
https://blogs.adobe.com/kevinmonahan/2012/10/11/smart-rendering-in-premiere-pro-cs6-6-0-1-and-later/

The new premiere 2016 coming soon will proxy in the background while you work.

[Chris Wright]

here’s another plugin you can compare for that exposure problem.

digital anarchy’s flicker free
https://www.digitalanarchy.com/Flicker/main.html

https://www.youtube.com/watch?v=YxE8d3IZyds

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[Chris Wright]

i’m amazed it worked at all. Adobe doesn’t support variable frame rate video from camera footage. also, a single disk that had to share, video files, media cache, sound files, effects, rendering, project files, memory swap file, the only thing that kept you going was the processor, which, unfortunately had to wait for everything.

Next time I recommend using prelude or handbrake to convert variable frame rate footage to constant frame rate (not to be confused with variable bitrate) to Cineform(which is the smoothest to edit with DI codec)

and get a SSD hd like a Samsung 850 Pro SATA or 950 m.2(if you have m.2 x4 mobo support)

[Chris Wright]

I think you are 100% correct. not only is Tiff an open standard and supported by Sustainability of Digital Formats, but it supports Alpha 16bit/32bpc and won’t change a single bit of information if you turn off LZW compression. I have done extensive tests on this. PNG is smaller, but you lose 0.001% data every encode due to math rounding in compression.

Tiff was developed in the 1980’s and is STILL used by post houses 36 years later! That should tell you something.

Tiff allows for a wide range of different compression schemes, color spaces, and compression types.
You don’t need a license from Adobe to implement software reading and writing the TIFF format.
free open source library
https://www.remotesensing.org/libtiff/

Non-proprietary
Unencrypted
Uncompressed

https://library.stanford.edu/research/data-management-services/data-best-practices/best-practices-file-formats

Adobe said they won’t create support for certain quicktime codecs anymore. Which means that once quicktime vanishes,
so will adobe import support!

native Adobe decoding of many .mov formats is available today (including uncompressed, DV, IMX, MPEG2, XDCAM, h264, JPEG, DNxHD, DNxHR, AVCI and Cineform). Native export support is also possible for DV and Cineform in .mov wrappers.

Non-MXF quicktime container formats: prores, animation, dhxhd/hr, animation COULD go the way of the Dodo.
Adobe-DnxHD/HR does have a MXF format that is non-quicktime however.

https://blogs.adobe.com/creativecloud/quicktime-on-windows/

[Chris Wright]

i wouldn’t do this for this project because its already done, but I did re-read your posts and you have mp4 video ingested and scaled, and variable h.264. 3 big things that slow down renders. you don’t HAVE to do variable bitrate encoding.

The next project you do, try transcoding via adobe Prelude all your video to a smart codec like DnxHD, then adobe won’t have to decompress, recompress anything.

Make sure your cuda is turned on for scaling, and heck, even try exporting DnxHD or HQ and use handbrake to do final encode to h.264(with youtube’s recommended specs of course) constant framerate, bitrate as listed below for pixel resolution.
https://support.google.com/youtube/answer/1722171?hl=en

how to setup smart rendering
https://blogs.adobe.com/kevinmonahan/2012/10/11/smart-rendering-in-premiere-pro-cs6-6-0-1-and-later/

[Chris Wright]

i made an AE template that pushes green into rgb 0,1,0 so that there’s only one color for the keyer to see. it’s in 32bpc
https://f1.creativecow.net/9925/9925

also, much above 60-70ire for newer cameras, and you’ll blow out the chroma, leaving only luma which, you know, you can’t key.

Red uses 60 ire for example. search the native ire and iso your camera records to as each camera sensor is different.
then decode RAW to EXR or prores 4k and denoise with neatvideo before keying.