[Greg Janza]

[Andrew Kimery] ” I don’t work on many corporate projects, but on the ones I have worked on all the language and imagery, has been vetted by marketing, legal, management, etc., so there is no room to ‘rediscover’ the piece in post.”

I wish that was the norm but corporate projects in which there’s a full vetting by marketing, legal and management prior to shooting or during shooting are rare indeed.

As with so much of video production now, the focus, scope, story, messaging and overall thematic structure of a piece can change many times over throughout the post process.

I’m currently working on a 1min in-house promo spot utilizing a dozen employee interviews that has gone through three rounds of changing the overall message focus. And all of these changes have occurred after all shooting was completed.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Charlie Austin] “I will never in a million years cut a personal project in Pr, because someday I might stop renting it and then I no longer have access to my work.”

I guess if you’re concerned about future proofing you could simply export an XML of your finished sequence when wrapping a project up and then you will have a simple way to move projects through NLE’s.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

It depends on your delivery specs. If you’re delivering 1920×1080 then make your sequence the same. You’ll also then have a lot of flexibility with the 4k footage.

Windows 10 Pro
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Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Gabe Strong] ” this small increase probably does not change the business arguments one way or another.”

Agreed. Adobe subscribers are looking at a nominal $36 yearly increase.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Tero Ahlfors] “Mismatches between exports and the sequence are in pretty much all the cases caused by the player playing the file, GPU settings and the operating system color handling and not the program where the file came from.”

Agreed. My exports are a perfect match.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Bill Thomas] ” I was trying to edit 1080p footage from our DJI Phantom 3, and it was REAL jerky! It would play for about 4 seconds, then stutter like heck. Not sure if it was the codec or what.”

The DJI Phantom 3 records in H264. H264 is very CPU intensive and therefore most likely you’ll run into playback issues. Convert that footage to an edit friendly codec like pro-res and your playback problems will go away.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

you’re definitely doing it the hard way. Is it possible to get the original project file and relink media? Or is it possible to get an EDL of the original project sequence and import that and then relink?

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

[Yair Bartal] “It’s always a question if you prefer a highly compressed file which taxes your CPU or a high bit rate file which taxes your disks.”

With the cost of storage being ridiculously low, the size of transcoded files shouldn’t be an issue.

DNxHD and Pro-res are file types that work natively with Premiere and therefore even if you have a lesser computer they will play back just fine.

Using proxies for H264 or H265 files defeats the purpose of streamlining your edit since if you went back to the H264/H265 files for mastering you’d be right back where you started with CPU intensive files.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

H264 and H265 files are CPU intensive and therefore I would advocate to always transcode them to pro-res or DNxHD before editing. It’s a one step process with no need to round trip as with proxies.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync

[Greg Janza]

The purpose of proxies is to make it possible to smoothly edit high quality (i.e., 4k) footage on a computer that doesn’t have enough power to easily work with the originals. The proxy workflow allows you to build your video with the proxies but to do your final mastering with the high quality original files.

In situations involving h264 or h265 master files, there’s no need to go back to those originating files after transcoding them to an edit friendly codec so therefore the proxy workflow isn’t necessary.

Windows 10 Pro
i7-5820k CPU
Nvidia GeForce GTX 970
Adobe CC 2018
Renders/cache: Samsung SSD 950 Pro x2 in Raid 0
Media: Samsung SSD 960 PRO PCIe NVMe M.2 2280
Media: OWC Thunderbay 4 x 2 Raid 0 mirrored with FreeFileSync