Skip to main content
Serghios
Serghios
Known Participant
January 6, 2022
Question

why I'm continuing to pay adobe monthly

  • January 6, 2022
  • 3 replies
  • 1187 views

Is a SHAME.
Davinci eats them like it's nothing, in premiere last version I can't even send them to play normally (4K H265 FROM XT3).
Here you can see a video of today comparing me on the phone with a friend, I really wonder why I'm continuing to pay adobe monthly if it doesn't even make me work decently while my hardware is powerful 10 times what we are talking about (MBP M1 MAX 32 CORE 64GB RAM).

I'm really losing patience, here the proof:

 

https://vimeo.com/675662019/440db982c5

      This topic has been closed for replies.

      3 replies

      B
      Baffy19
      Legend
      February 10, 2022

      That's what I'm talking about. There is no performance, although they have been writing about it for several updates in a row. Sadly. Premiere is not so crammed in terms of clutter, unlike DaVinci. But, we see quite the opposite. Premiere should easily take such media. It seems to me that there is an incorrect reading of the playback code in Premiere. Judging by your video, everything is bad in Premiere's performance. She's gone. And they can't overcome it in any way. The forum is full of this topic, but so far everything is unchanged.

        Serghios
        SerghiosAuthor
        Known Participant
        February 10, 2022

        Exactly. Then as long as there are users like @mgrenadier who tells you that you just have to learn the workflow and work with proxies what do we expect? Amateurs (because a professional can't talk like that). He doesn't ask me proxies for an 8k in cdng raw or I quickly edit any workflow and I have to have the timeline nailed with the fuji material or any high bitrate h265 of camera b because premiere has not yet learned to optimize it.
        But as the user above says, professional since 2012 in the adobe world, I have to create proxies because a laptop with 32 core 64gb of ram, the material as scratch disk, the internal ssd of the laptop that reaches almost 6000MBS of reading and writing and all the material of the project in an owc express 4m2 with 4 ssd Nvme in raid 0 are not enough to work with a 4k h265 4:2:0 of a Fuji released in 2018.
        People better shut up instead of opening their mouth to say heresies @Michael Grenadier 

        M
        Michael Grenadier
        Legend
        February 10, 2022

        This is usually a place for intelligent discussion not insults and dismissals of other peoples opinions without thought...  telling someone to shut up is not the way to go and has ended this thread as far as I'm concerned.  As tempting as it is to attempt to get the last word...  clearly that ain't gonna happen.   

          exclusivemoose
          exclusivemoose
          Known Participant
          February 10, 2022

          I'm with you, commenting so these issues stay at the top..  Adobe has completely abandoned Apple M1 users, and anyone shooting anything higher than some GoPro 8 bit 4:2:0 footage

            M
            Michael Grenadier
            Legend
            February 10, 2022

            I'm editing without issue on a 13" m-1 macbook pro with footage from iphone and sony camera all converted to constant frame rate 1080 prores 422 using edit ready.  

            Serghios
            SerghiosAuthor
            Known Participant
            February 10, 2022

            I'm sorry but you don't know what you're saying, do you work with videos? I mean do you work 12 hours a day every day for a living on video? Because if we talk about 10 clips of uncle tom's birthday there are no problems.

            I have no problems with the iphone stuff (iphone 13 pro) but with the h265 hevc 4.2.2 and 4.2.0 10 bit of zcam or fuji xt3 you can't work in timeline.

            The problem is just that, that premiere seems to be optimizing only for prosumes and hobbyists. I don't know what you're talking about, what is edit ready? are you creating proxies? do you think it's possible that with 4000 euros of laptop I have to use proxies when i can edit in real time files from 6k 8k full raw in Davinci? if you want to contribute do not justify adobe for this serious lack. They are totally forgetting about mac users, and there are many of us who are not happy. then come comments like yours that you have no problem working with proxies...i have no problem working with apple pro res 4:2:2 either, but then the TB of storage in hardisk? Not to mention that my camera b, or rather mine use more compressed codecs and i find it impossible to work fluidly. A software that you pay the license once for less than 300 euros can handle everything superbly. Now, I've been using Premiere since 2001...I like it and I don't want to re-learn another software for general editing but if they don't fix it they leave me no choice. Already for color grading I switched totally to davinci, exporting xml from premiere and i have a super color grading control. Now I'm only missing for the editing part, I'm at the limit!

            B
            Baffy19
            Legend
            January 6, 2022

            Sumeet, hi. Very very soon, the H.265 format will be a priority. Therefore, I advise you to think ahead of this deadline, so that there is no explosive wave on the forum. We need to decide now. And I have already pointed out on the forum that it's time to overcome these stupid mistakes with media playback received from cameras from well-known brands. Including native support without third - party format plugins . BRAW from Blackmagic. The forum is full of messages about unsuccessful playback or even failure when working with files from cameras such as: Sony FX 3 (FX6), Fuji XT-4. Pay attention to this request. This is a very important question. I don't understand what could be the problem with playing files received from known cameras. Riddle

            B
            Baffy19
            Legend
            January 6, 2022

            And the subcriding of 4:2:2 files is already coming at a rapid pace among users, since this is the standard of modern cameras. Therefore, we need to focus on this. You yourself understand perfectly well that it is much more convenient and professional to paint the material with files 4:2:2 weeks 4:2:0. In the film industry, at least 4:2:2. This is the smallest one.

            Terms & ConditionsAccessibility statement
            Using the community Terms of use Privacy Cookie preferences Do not sell or share my personal information ad choicesAdChoices