[Greg Janza]

I don’t mean to be the bearer of bad news but if you’re still struggling then most likely it’s your CPU. It looks like yours is on the older side. Proxy creation is a CPU intensive process so that’s probably your issue.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Rhys Sherring] “2. I imported every single video and external audio file into premiere and renamed each of them according to scene, shot and take. “

That’s being quite thorough but there’s no need to rename your clips. You can organize scenes, shots and takes in timelines

[Rhys Sherring] “4. I individually exported XML’s of each of these timelines and imported them into PluralEyes one by one, synced the audio, then exported XML’s again, if i recall correctly.”

You can streamline this step by doing all of your audio syncing in Premiere.

[Rhys Sherring] “Only thing was that I had to swim through shots in each of their respective sequence timelines.”

That swimming method is also called pancake editing (you can skim through a source timeline which is positioned above your program timeline) and it works very well and is a very efficient method of editing.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

The problem is with quicktime. I recently ran into the same issue when exporting individual clips out of my sequence as DNxHD in quicktime format. The banding showed up. When I changed the export to DNxHR/HD in a OP1a format there was no banding problem. And when I discussed this with a colorist recently he confirmed that he’s seen this issue with quicktime files only.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

[Scott Witthaus] “Plus, I don’t want my monthly being used to develop the 20-odd software in the rest of the CC package that I don’t use.”

I would highly doubt that Adobe cares what you want. To them you’re just another subscriber whether you use all 20 programs or none.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

you won’t see pro res anywhere because you’re on a windows machine and pro res is only on mac.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

I’m taking a guess so you’ll have to do some troubleshooting or sleuthing to confirm.

A good starting point would be for you to download a utility like Process Explorer to see in detail what’s causing your system to bog down. here’s the link: https://docs.microsoft.com/en-us/sysinternals/downloads/process-explorer

By saying that smaller folders don’t cause trouble leads me to think that you’re running out of RAM with the larger folders.

I have 32gigs of RAM in my system and when I’m working in Premiere it regularly takes at least 20gigs or more of that RAM to operate smoothly.

Also, where are you encoding this media to? Do you have a fast drive or raid? You may also be running into a bottleneck of data.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

This is a fantastic thread. thanks Bob for being the genesis of it.

Many valid points have been raised and on some levels it’s quite troubling that the democratization of the business has the potential to eat away at it.

However, I’m very encouraged by this same democratization. When I began working in television in the early 1990’s the only viable producers of content were well established production facilities with small armies of folks executive producing, producing, writing, directing, shooting, editing, color correcting, sound mixing, etc. etc.

The same business in 2017 now allows for an independent producer to create content for either a local television market or a national network on his or her own with no need for affiliation with a large production facility. I do all of my work out of a home office and my home edit system is equal to or perhaps even faster than many of the fully decked out edit suites that I used to work in back in the day.

I’m also encouraged by the fact that content has become king overall in the marketplace. If you can create compelling visual content with good storytelling you have a commodity that’s worth something. I think that’s what will differentiate folks in this very crowded field.

I watch a lot of online content partly because there’s so much online content and the vast majority of the stuff I watch is not very engaging. Much of it follows a formulaic approach.

A good example of this formula approach is pretty much any video created for a startup to show how x app is going to revolutionize the world. These videos are almost always very slick in style and look with a “hip” music track and the employees are espousing the great things about the company and it’s product while b-roll shows people working on their beautiful imacs in an open office setting or a group of employees sitting in a conference room “strategizing” and creating an even better app while the camera rolls.

I think the goal of these videos is to garner interest in the company by other investors as well as prospective employees but sadly the videos are just plain boring. Whether these companies truly want a more compelling video is the grey area.

But if the goal is grab eyeballs and hook an audience then those out there that can create compelling content are going to be more sought after. At least that’s the hope.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

If you’re doing it all by yourself there’s no reason to feel as though you’re taking forever to make it. A 30 min show is a ton of work for a single editor.

I’m just wrapping up a 24:30 non-fiction tv show that was built in the traditional documentary style of using interview soundbites as the base for all of the storytelling but with a show host for bump ins for the four segments.

I had the assistance of a veteran tv producer/writer to aid in the building of the segments. She went through all of the raw interview footage and made selects and then together we fleshed out each segment. Once we had a solid a-roll I then built all of the rest of the show.

This method took a full 30 days to get the show completely built and now we’re in the final stages of the finishing work- i.e., color and sound mixing which thankfully has been farmed out.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Tim, thanks for the detailed thoughts on the subject.

The 3D experiment has revealed that people are certainly game to try new technological devices when it comes to narrative storytelling but at the same time the overall failure of 3D technology to take hold in a real and lasting way is also quite revealing.

Suspension of disbelief is the top requirement for an audience to completely engage in a film and get immersed in the story. And so the biggest hurdle for technological advancements within the medium is how to maintain that suspension of disbelief.

For me, if my suspension of disbelief is interrupted I no longer can maintain my connection to the story. So I’ve never been a fan of 3D because the glasses are constant reminder that I’m in the process of watching a film.

This basic hurdle is quite large and so in essence very little has changed over the years in how audiences watch and enjoy a film or tv show.

There’s a fair amount of effort being put into interactive storytelling and perhaps eventually it will be a viable option but currently film and television remains a passive experience because that passivity easily allows for the suspension of disbelief.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles

[Greg Janza]

Thanks for all of that info David. VR most definitely has a bright future but 360 video is completely baffling to me as a storytelling vehicle.

My only experience with 360 video is the New York Times pieces and my reaction to each and every one of these videos is a big Meh. The technology brings nothing to the viewing experience other than frustration because of the requirement that the viewer select the imagery focus.

I Hate Television. I Hate It As Much As Peanuts. But I Can’t Stop Eating Peanuts.
– Orson Welles