[Tim Kolb]

I don’t use Plural Eyes (PPro CC actually has a similar function inside the software) so I don’t have much insight into that workflow I’m afraid…

Since you’re transcoding all that footage anyway, why wouldn’t you simply use the secondary audio as the audio for the transcoded file?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Editing native isn’t “offline/online”…it’s simply leaving the media transcode to the end, which saves time (and drive space).

Why are you using the DSLR sequence setting when you’re editing Prores?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Keep in mind that in FCP you’d have spent the time up front to transcode -all- the DSLR to ProRes ahead of time…so the export to ProRes doesn’t take long.

In order to compare render times, you’d have to take the time you spent exporting in Premiere Pro, and compare that to the short period you spent exporting in FCP -AND- the time spent transcoding the DSLR media to ProRes before you even begin editing in FCP.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Depending on what version of Premiere Pro you’re using, there should be a ProRes sequence preset?

In CC, ProRes on a Mac should handle very similarly to FCP if the sequence and export are set up correctly.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Well…you could easily move to a newer laptop with better specs and improve your performance. You wouldn’t need an iMac, just double the RAM, a much better GPU… My Lenovo W520 has an i& that clocks slower than yours, but has a Quadro 2000 GPU and 16 GB of RAM.

Also…the NanoFlash only records MPEG2…it has Sony’s hardware chip in it. It can wrap the file as .mov, but it isn’t ProRes.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I think the main issue is probably just overall system spec. Stutter after 10 seconds seems to suggest that PPro is buffering up, but the system can’t keep up with ongoing playback…not sure what kind of media you’re using. This kind of thing with more compressed formats would point to the CPUs as the probably bottleneck…less compressed formats might have me looking harder at the media drives.

6 years is an eon for GPU cards, and the Radeon 4000 (introduced in 2008) is not a CUDA card…only NVIDIA has CUDA, AMD uses OpenCL, but that GPU card can’t help with PPro CC, so you’re getting no help GPU-wise.

8 GB of RAM is enough to launch PProCC, but I have 16 GB in my several year old laptop…I’d suggest doubling the RAM at absolute minimum. (more would be better)

The Nehalem processors always seemed pretty snappy to me, and the faster clock speeds should help with decoding aggressively compressed formats like H264…but getting a better GPU will definitely help with scaling, color interpolation, etc, but video decoding is specifically based on CPU. Large data rate, I frame formats shouldn’t be as big an issue for the CPUs.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

The GTX cards are strong performers which, as a general rule of thumb, draw a bit more power, create a bit more heat, and have less RAM than Quadro cards that will yield similar day-to-day results in Adobe software.

NVIDIA manufactures Quadro cards…licensed third party manufacturers make GeForce cards (Zotac, MSi, PNY, etc etc…) and they all make their own modifications to the spec, so the same model GeForce card can e constructed of varying components and may even have different specifications (amounts of RAM, etc) from manufacturer to manufacturer.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

When you say the same problem has happened before…do you mean with “sharpen” specifically, or with other effects as well?

I initially wonder where your cache went? Did it move from one of the SSDs to the new, spinning hard drive? Did the source media move to the spinning harddrive?

You’re output is H264…what is your source material?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

[Michael Tiemann] “Could it really be that something I use to make monitoring behave in a way that I find rational could actually be causing *rendering* to behave in a completely irrational way?”

Rational and irrational are kind of relative…

I can’t seem to duplicate this behavior in CC here…maybe more procedural details could help troubleshoot.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

It’s not Adobe…it’s a well known (and seemingly eternal) problem with QuickTime.

On the Windows side we’re lucky we can use a standard mp4 wrapper and keep QuickTime out of the equation…I’m not certain what Mac users do with the QT H264 gamma issue…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor