Rob Ainscough
106
COW Coins
14
DaVinci Coins
102
Premiere Pro Coins
Forum Replies Created
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This applies to any NLE software (not just Adobe):
You’ll get more bang for you buck if you build a custom PC. I’m not a fan of Dell/HP as they use low quality parts and proprietary parts … if you go Dell/HP then you may as well go the Apple route.
$2124 will get you a good custom PC:
AMD 7800X3D 8/16 – $395
ASUS Prime AM5 X670E-Pro Wifi – $320
G.Skill Z5 Neo AMD EXPO 2X32GB 64GB RAM 6000 CL32 – $210
2TB Samsung 980 Pro NVMe Gen4 M.2 – $160
AMD 7800XT 16GB DDR6 GPU – $530
CASE Zalman i3 Neo ATX Mid Tower – $70
CPU Fan Noctua NH-D15 PWM 140mm – $110
PSU EVGA Supernova 850 T2, 80+ Titanium – $190
Windows 11 Home – $139
The custom PC above will run circles around the HP specs you listed.
Cheers, Rob.
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Me too, I moved away from Adobe suite because I just wasn’t getting value for money and it seemed any new version caused all kinds of issues with stability and performance. I just got fed up of Adobe and lack of support.
I was apprehensive about missing Adobe Ae, but found Fusion to be MUCH more intuitive and NOT a separate cost (huge plus). Love node based, it’s just so much easier to visualize and fantastic flexibility.
The only thing I missed from Adobe was Ps … but I found Affinity Photo 2 and have NO regrets at all in dumping Adobe Ps.
After being very impressed with Resolve/Fusion, I bought the Speed Editor (which comes with an Resolve license) … wow, just start Resolve and go worked immediately no fussing with the device at all and super low latency.
Heck, next I got the BMD Mini Panel for color grading … again just plug in and it works, no fuss, just works and super accurate.
On a roll, I got the BMD fairlight mixer console … and again just plug in and it works. Heck mixer panel even supports HDMI output so I ran an smaller 2nd OLED display from it so I can be working in other modes (Edit) and still see all the audio and adjusts.
The most important part about Resolve is that I can focus entirely on content and haven’t needed to do anything to “make it work right”, it just works.
As much as i like BorisFX, I just haven’t found the need to buy it again for Resolve, tracking works great so don’t need Mocha.
For a long time Adobe Suite user (decades), I honestly didn’t believe there was a viable alternative for what I want/need to do … but I was very wrong, Resolve is that and more!
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You want to avoid using “Integrated” GPU that is part of the CPU in all cases.
Adobe Pr will use the GPU for those FX that are flagged as accelerated (blue icon folder with 3 bars and play triangle) … for timeline playback.
For encoding final output that will vary pending your settings, some options are not supported by GPU so the fallback will be CPU rendering.
This link should answer all your questions for GPU acceleration.
https://helpx.adobe.com/x-productkb/multi/gpu-acceleration-and-hardware-encoding.html
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Hi Mary, I purchased an INNOCN (never heard of them before) OLED 13.3″ display for use on my Blackmagic Design mixing console and was surprise how well it worked for me given how inexpensive it was ($199).
Link:
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Scopes work well if you’re trying to perfect a scene but it’s hard to convey “mood” entirely with various scope types. I guess it depends how one works, but I use the monitor to scan and identify issues and then the scopes to verify and/or adjust. But agree that the monitor is less important when one has a variety of scopes to work with … hence why I would never spend $30,000 on a monitor. 🙂
Although there are many times where I wonder if the color grading work and delivery of high resolution and high dynamic range content is worth it … 95% of it get lost in compression/transmission out to the average consumer’s TV. But the number of times I’ve heard friends tell me they can’t tell the difference between a movie in 4K HDR Ultra on BluRay and the same movie on Netflix … you just wanna toss in the towel … and then there is broadcast TV, ugh … why bother at all!
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Adobe doesn’t like heavily compressed footage. When they switched from a 32bit to 64bit application many moons ago (2017 I think), they could no longer use existing compression libraries and had to write their own for 64bit. Adobe is also VERY sensitive to any missing frame data which can also cause it to freeze. As a result they’ve struggled to make decompression work while working a timeline and moving around frequently (big jumps in the timeline). The larger the file and the more one moves in the timeline, the worse the problem is until eventual freeze. For Adobe I had to do the following to resolve as much as possible:
1. Convert all media to ProRes 422 HQ.
2. If still having issues, then enable Proxies.
3. Clear out all audio/video previews/cache.
4. Check audio settings and reset, disable while scrubbing, check mixdown, check sample rate and I/O buffer size, etc.
Cheers, Rob.
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Agree, really depends on the client and how frequently they change their mind. If I can say “sure I can do that quickly” vs. saying “that’s a big deal and will take me longer” … happy client, happy pocket, repeat customer. In the world of YouTube content, delivery schedules can be insanely short.
Depends on what one delivers … proxies to get the “all go” … the only issue I have with lower res/proxies is some FX don’t work as well, especially more subtle depth of view changes.
And I do make mistakes (being human) that can trigger re-rendering – pending where the mistake is in my workflow, it can be a resource cruncher.
But for those with more skill than I and perhaps with more tightly packed and well-organized workflows they may just not need the processing power/resource. But for me, having good processing power is perhaps a little bit of a safety blanket and makes the work a tad less stressful 🙂
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EIZO CG3146 (not OLED and using backlight) is about $30,000 US. I’ve used one (not mine) but found I can color grade (HDR or otherwise) with same level of accuracy and more easily on a $1200 LG C2 43″.
If I were to do non-OLED display, then EIZO would be the choice, but I can’t see myself going back to any non-OLED display now or in the future regardless of the feature set the display brings.
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Fair enough, some places it’s all about familiarity and not having to discover options and performance is “good enough” … all good.
For anyone else reading this thread who’s primary concern is performance:
APPLE Rack Mount ———————————–
Apple M2 Ultra with 24-core CPU,
76-core GPU, 32‑core Neural Engine
192GB RAM
8TB SSD
Nano-Texture Glass 32″ 6K monitor
$18,298
PC Rack Mount ——————————————–
AMD 7995WX Pro with 96-core CPU + Motherboard ASUS Pro WS W790E + 4U Rack case $11,410
nVidia 4090 GPU 512-tensor cores $1599
DDR5 RDIMM ECC 256GB RAM $1,866
8TB (2X 4TB M.2 990Pro) $640
Dell 6K monitor 32″ $2559.99
$18,074
For equivalent cost, AMD PC will render output about 4X faster than Apple’s Mac Pro. As an edit station you’ll see better performance also (but not 4X). I don’t know what most companies do, but I typically free up my workstation and send my render jobs out to other PCs to complete while I continue on other projects.
As far as stability, I haven’t found either to be better or worse but on the PC side you do need to be more vigilant with hardware selection (especially RAM) and driver updates and OS updates.
Cheers, Rob.
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Are you restricting yourself to Apple only?
Most Windows based PCs at same or lower price point will perform faster than Apple’s M1, M2, or M3 CPU.
Not trying to push you away from Apple as I love macOS, but when it comes to raw performance in video editing/rendering a Windows based PC will out perform it rather easily (I’m mostly using AMD CPUs now, but still have a few Intel CPUs).
If you’re like me, I have 4 other computers in a RACK that I use to do actual final render work while I use my main PC for editing. I’m using DaVinci Resolve so it’s very easy to setup render servers/workstations so as to free my main editing PC up to continue.
Don’t get me wrong, I love my iMac but I don’t use it for this type of work. Just tossing in my 2cents since your title didn’t include must be for Apple.