[Tim Kolb]

I’m not sure if the free version of GoPro will go up to 4K resolution…will it? (I’ve not tried it.)

ProRes 4K does run pretty well, even on Windows in CC.

Once you start to work with 4K files, what format it is has some effect on how it leans into the system resources. I believe that RED is still confined to one CPU core per stream (keeps the RED Rocket cards in play), but XAVC is so new that I don’t know how(or even “if”) the decoder is threaded. I do know that once you get to an i7 processor with 4 (8 HT) cores, additional cores don’t seem to help H264 decoding/encoding speed much, but clock speed starts to make a difference.

Once you get into 4K in general, the scaling and color interpolation after decode really benefit from a usable GPU card, and even though decoding/encoding is still primarily a CPU-borne operation, freeing the CPU from these other tasks has a noticeable effect. (CPU decompresses the Bayer or 4:2:2 data and the GPU handles filling in the interpolated color samples, converts for the display color space, and scales the image to fit in the project panel at whatever size it is…)

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Yes…this has been an interesting thing for some time now…at the moments I’ve really tried to pay attention to it, it seems like it knows how much time it took to render the frame it’s working on…and how many frames it has to go and does a projection that way.

Whether or not you’ll be pleased depends on whether it’s currently rendering the hardest, or easiest frame in the export…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Do you typically power down the computer and then have this happen, or does it happen during a day’s session when the computer hasn’t been power-cycled? Does the audio ever load properly after the computer has been power-cycled? It sounds like it could be Premiere Pro not getting access to its media cache files at the point it goes south. Sometimes it’s a strange drive permission/user account thing…I’ve heard the issue primarily from Mac users.

If you moved the project however, I would think that Premiere Pro would be creating new cache files to replace the ones it can’t find.

Odd.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Out of curiosity, why can’t you simply disable the metadata in the Media Encoder preferences?

Is the collective metadata of each and every source file actually necessary for your applications?

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

I agree with Ann.

I use GoPro (as well as other cameras)underwater footage periodically and it’s usually a simple matter of using a color corrector and countering whatever the dominant color of the water is…a given camera filter will correct for a given color, but without having the footage in front of you, you would be operating on pure speculation.

Keep in mind that filtration takes things away…if you want some color left (and some grayscale), a shift will be necessary.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

The GPU (choose CUDA for an NVIDIA card and OpenCL for an AMD card…as of CC, they’re pretty comparable)is used to speed computing of effects in Premiere Pro’s timeline, so any effects you’ve applied will be helped by GPU acceleration, but the codec operations (decode/encode) are primarily CPU based serial functions…

I have no idea how a piece of software can utilize 6X more CPU than you actually have, that’s not even possible. Encoding should hit your CPUs pretty hard, that would be how you know you’re getting the most power involved in the process. If you choose the ‘Export’ option in the export dialog, you’ll do a direct export and tie up the software, if you’re using the ‘Queue’ feature, you’re taking your Premiere Pro timeline and offloading it to a background version of Premiere Pro to feed to Media Encoder…and encoding will start and stop if you choose to continue editing in Premiere Pro as the software is set up to favor the software that is being actively engaged by the user and use only available processor cycles for the background process.

What sort of PSD document are you using? Is it the same framesize as the video you’re handling? is it RGB/8 bit?

Is the sequence the same frame size, frame rate, and pixel aspect as your camera footage?

As has been mentioned, the ‘maximum quality’ option is usually best used for downconverting (exporting 720p from a 1080p timeline, etc.) as it doesn’t usually improve a pixel-pixel export very noticeably.

Maximum bit depth may not be adding much to your process either as you’re starting with 8 bit footage and exporting to 8 bit.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

While upgrading versions would be great, I would agree with the RAM suggestion, but I’d suspect that taking an eon to open may have something to do with the media cache database…

Do you know where the application puts it currently? Is that drive full, or does Premiere Pro have admin access to write to it (which causes issues in some cases).

I might attempt to launch PPro with an empty project, clean the media cache (in preferences) and see if the project doesn’t get its act together a bit.

As we all know, RED raw is heavy lifting, but the project should open…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

…agreed.

Being able to just right-click and adjust pixel aspect ratio and frame rate on a clip with absolutely no rendering or asset duplication is extremely convenient.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Anything change in your system lately? Display card? Updated drivers?

I would try to uninstall/reinstall the software…

Any other idiosyncrasies of PPro 1.5 are kind of foggy for me…the software was current nearly a decade ago.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Tim Kolb]

Export Media or Movie…it’s all the same. Pick a format and parameters the same basic way as I recall. (It’s been 5 years since I used CS3 and a couple years since CS5). Pick something large from the QuickTime formats available and make a master clip, then load it into QT Player and Export it. It will take a while (QT Pro is 32 bit), but you may be able to hit the data rate numbers.

DNxHD is a fine codec, but you’ll have to double the data rate to reasonably preserve image quality…and the QuickTime wrapped version of the DNxHD codec doesn’t have the flexibility of the MXF wrapped codecs. All this also assumes your client has the Avid codecs on their system to use the media you deliver…

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor