[R neil Haugen]

PrPro seems to apply a “relative” reference (12th LUT down … ) to LUTs in the Technical & Creative folders within the Adobe/Premiere Pro 2017/Lumetri/LUTs folder chain, and “absolute” references (JonDobBlueDogSpecial.cube) to LUTs in folders outside of that location, say on your desktop or in a LUTs folder you might put on your system drive.

And as referenced elsewhere in this thread, if you put LUTs into the PrPro folders, you *may* need to also put them into AME’s folder tree to have them read by AME. As apparently, if it sees a reference to those folders, it looks for the 17th LUT, not say “JonDobBlueDogSpecial.cube” by name … but within it’s own folder tree.

But again, *outside* the Adobe folder tree, it searches for LUTs within the specified folder by name.

So it’s awful nice to be able to scroll without having to constantly navigate through folders … making using the built-in Technical and Creative folders attractive. Though … there may be problems with that use.

And some older LUTs that used to ship with SpeedGrade and/or PrPro can indeed cause issues.

[R neil Haugen]

Breaking up the reads & writes is always good in PrPro. Exporting is nearly totally a reading process, and reading media files is pretty much a one-way read process. So both of those can often (up through 1080) go via a USB3 connection where say, using that for project files or such would slow you to a crawl.

But … that would be one USB3 connection for exporting, and a different one for media you are working from.

Exporting to even a fast flashdrive like some of the PNY 128Gb ones connected through a USB3 port would give you better processing times than sending the export back to a disc that’s getting heavily used for in/out work like your system drive.

Neil

[R neil Haugen]

Premiere doesn’t keep a “full” database like some programs, but it does have its own internal database/cache for every project of where everything in that projects file resides and some other data bits about each asset. That is part of what it’s doing while importing. And as you are using AVCHD footage which is of course little bits & pieces connected by the data files within the folder structure there’s more for PrPro to record than say for most MOV files.

And as Jeff notes, it does do some sort of audio conforming work also. Between the two is where the time goes, it seems.

Neil

[R neil Haugen]

I’ve found it quite intriguing (coming from a portrait stills pro background) how when digital first replaced film, we HAD to get new lenses optimized for digital cameras, and it did make a big difference in still camera images at that time. But that was SO last decade …

Now, say, my D3 works quite well with my older Nikon lenses. And in video … a LOT of people rave about using older Nikon, Pentax, and Minolta lenses for their smooth, not-looking-like-taped-video look. I’ve found that my old Nikon 50mm 1.2 and an 80 1.7 work beautifully on my GH3. And … I’ve got an even older Minolta 80mm same that I’ve seen used by a few people on GH2/3/4, and wow … I think I need to get a Minolta-to-M4/3 adapter also.

They don’t cost a lot, just make sure you get one the exact depth so you can focus properly. My first one couldn’t focus past 15 feet with the lens wide-open!

Neil