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You can have a reference at this article: 4K Video Editing Minimum Hardware and Software System Requirements
https://www.videomaker.com/article/f6/17135-editing-in-4k-minimum-system-requirements

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The H.264 codec is very CPU intensive, therefore, it takes some serious computer power to decode its compression, that’s why your editing experience is so terrible and the playback is rather fluctuating on the timeline of Davinci Resolve when the processor of your computer is not powerful enough to handle the H.264 video. In addition, H.264 is an 8-bit format, if you edit it natively, you start to lose image quality as you do color correction or composite gradients to create greenscreen keys. There just isn’t a lot of room to work.

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Editing H.264 natively will help users to save the extra decoding time and HDD space. However, when taking other factors such as render time, image quality, computer hardware costs or integration with other video formats in the same project, a lot of people may find H.264 is not the best choice in the following aspects:
– H.264 is an extremely processor intensive codec, it is so compressed that your computer’s cpu is having to decode it on the fly, which is a big burden.
– It takes longer time to render H.264 files than other formats.
– H.264 is an 8-bit format, which means that you are potentially compromising your effects and, especially, color correction and compositing with gradients.
– H.264 does not integrate easily with other video formats.

To fix all the head-scratching issue caused by H.264 editing format, here we highly recommend you to transcode H.264 to Premiere Pro CC’s high quality and high performance editing codec – Apple Prores.

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H.264 is an outstanding distribution format, But it is not a good editing format when you care about image quality, render speeds, or lots of effects work. Why Premiere Pro CC lags and skips when playing H.264 is that H.264 is mathematically intense. It takes some serious computer horsepower to decode its compression.

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Although FCP X can native import H.264, however, when you try to edit H.264 natively with FCP X, you will need to deal with the significant limitations of H.264 video:

1. H.264 is mathematically intense. It takes some serious computer horsepower to decode its compression.

2. Because it is so mathematically challenging, it takes longer to render H.264 files than other formats.

3. H.264, as shot by HDSLR cameras, is an 8-bit format, which means that you are potentially compromising your effects and, especially, color correction and compositing with gradients.

4. H.264 does not integrate easily with other video formats.

While Apple ProRes is less hardware intensive than H.264. You don’t need a fancy graphics card and you don’t need as fast a computer to edit these transcoded formats.

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Although Motion JPEG codec is inclued in FCP X supported input file formats and it is frequently used in non-linear video editing system. However, there is one bit trade off to edit Motion JPEG directly with FCP X. The main reason is that when each video frame is compressed separately as a separate JPEG image, the file size will be very huge, often twice as large as other compression video formats. This is because the format has a relatively huge bit-rate, but no compression outside of the JPEG standard. This uncompressed 4K Motion JPEG MOV format helps to deliver high image quality, however, the high-bandwidth, RAID-storage requirements of uncompressed 4K video are daunting for most users’ budgets.

To get high quality and high performance post workflow, it is ideal for you to encode Canon 5D Mark IV 4K Motion JPEG MOV as Apple Prores codec, which main the highest quality and performance while requiring much less expensive editing and storage hardware (compared to uncompressed video)

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Which Samsung TV model do your own, you can check your Samsung TV’s user manual to see the specific display settings for it. If your own a Samsung 4K TV, H.265 MP4 can be a good option.

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Which version of Premiere Pro CC are you using, if you are using Premiere Pro CC 2015 version or above, you can create proxy files with small resolution directly with it.

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H.264 is a inter-frame delivery formats, although Premiere Pro CC has native editing support for it, however, if you try to directly edit H.264 with PPC, there will a lot of problems listed as below, therefore, it would be much ideal for you to encode H.264 to Premiere Pro CC supported intra-frame editing formats such as Prores or DV format.
– Slow searching for and decoding of frames
– Frame-accuracy problems
– Crashing or freezing
– Strange artifacts or blocking on your video
– Error messages or displaying black video

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Proxy media exists just to help take pressure off your system while editing. Before you share (export) media, be sure to switch back to Optimized/Original media in the viewer by clicking the View button, and selecting Optimized/Original under the Media heading.

Switching back will ensure that your exported file will be of the highest quality. If you don’t do this, you may notice significant file degradation on the final product, and that’s not what you want. Besides, exporting is easy if you choose an encoding method that takes advantage of Intel’s Quick Sync Video.