[Chris Wright]

Since a lot of people have been having problems with smooth playback,
here’s my total “make everything playback smoother” solutions chart.

for some people, rolling back to previous updates fixed the slugishness.

1. you can try rolling back to an earlier video driver or adobe update before the sluggishness.

“old drivers from 2014 work better (performance-wise) than the current ones”
https://forums.adobe.com/message/8447565#8447565

2. add premiere in NVidia Control Panel as an application for discrete gpu
3. deleting all preferences/clean media cache files/also in Roaming folder
4. 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
5. Set Preferences : > Audio hardware > Default Input: to None
6. install latest updates for Adobe and your gfx card or roll back driver if using older gfx card
7. is your gfx card supported for cuda? By default, CUDA needs at least 768M video RAM
go to:file-project settings-video renderer-is it greyed out?
8. download a monitoring program that tells you what is maxed out, your disk cache speed, cpu, gpu, RAM, etc. That should narrow down the problem.
9. “Why am I getting yellow and red lines running through my footage on pause?”
render the timeline (press the Enter key on your keyboard) so that yellow lines along the top of the timeline turn green
https://forums.adobe.com/thread/1979303
10. toggling off the High Dynamic Range setting and LUT’s in the setting menu of the Lumetri Color panel improves gpu
11. if you’re using AVHD footage, the cpu could be maxing out. try transcoding with streamclip quicktime png to test
12. disable “High Quality Playback” setting in the monitor wrench menu improves gpu
13. disable mercury transmit
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. CC 2014 playback is better, well maybe a little…

[Chris Wright]

Prior to beginning work on the master project, make sure that you enable ‘Write XMP ID to files on import’ in Preferences > Media.

This will tag each piece of media with a unique ID, which Premiere can keep track of. Then it will always recognize duplicate clips.

https://forums.creativecow.net/thread/3/963613

“There will be one “master” project for each production that you are working on. This project is read/write.
You import other projects from other collaborators via inspecting the project file itself via the master project’s Media Browser (you can open multiple Media Browser and save multiple favorite Media Browsers). These projects will be read only.
These items can be sequences, graphics, music, etc.,

https://forums.adobe.com/thread/1008792?tstart=0
https://helpx.adobe.com/premiere-pro/how-to/reuse-clips-multiple-projects.html

[Chris Wright]

eh, wouldn’t the colorist ask for an edl with handles and the raw’s so there’s no rendering?
or
did you one light conform the RAW? As for size, dpx and exr are same size. this is odd to me. there’s no point in giving a dpx if you can hand over edl.

[Chris Wright]

nice! very few people get this right the first time. You actually have the right settings for full range output, no rolloffs, maximum bitrate etc.

That being said, dpx is a monster for size. you may need to re-ask yourself if a 4k ProRes 4444 XQ(12 bit designed for camera original) would better suit your needs. dpx,exr, dng are for archiving RAW. prores 4k is for archiving masters of a final output for various devices. 16 bit Tiffs are used for DCP’s as well, but they are also big and lose RAW info because they are linear and also not float.

[Chris Wright]

sorry! its missing the little 32bpc lego icon thingy, that means=8bit 😮
speaking of which, did adobe license the lego shape? hahah!

[Chris Wright]

here’s the log c to rec709 generator if you want to use apply lut effect instead

https://www.arri.com/camera/alexa/tools/lut_generator/lut_generator/

[Chris Wright]

I appreciate your link. Thank you.

I’m just going to start recommending this as a base system for playback…

“20-core processors. These are outfitted with 128GB of RAM and NVIDIA Quadro M6000 12GB video cards. The 6K frame is 6144 x 3160 pixels and needs massive power to push it around smoothly. 48TB of RAID 5 storage is shared across 10GB ethernet.”

It’s funny when people complain about “my playback is stuttery.” Yea, you’re running everything off a 5400 rpm hd with 8 gb ram, and an intel 3d video card.

[Chris Wright]

yea, have fun with that one, its an 8 bit effect!

[Chris Wright]

you’ll either need a much larger bitrate for h.264 (vbr target, maximum) or another codec choice like DnxHD or Prores 422.

also, if you have 10 bit gradients, those will go bye bye with any 8 bit export. And, as far as I know, adobe doesn’t support 10 bit h.264, you’d have to use another program for that like handbrake’s profile at main 10 for 10 bit

or.. a DNxHR HQX(12bit) or Prores 422 HQ(10 bit)

[Chris Wright]

in edit-preferences-audio, what is your 5.1 mixdown type?

is sum multichannel outputs to mono in source monitor checked?

in audio hardware:
what are your outputmapping channels set to?

the reason we use mono for mastering is because we can detect phase cancelling issues which can lower or even completely remove channels!