Computer cannot process Premiere

Focal,

I grew up working in film biz as a grip on movies, tv commercials, episodic TV shows shot in film (is a film union in NYC). So, no video.. that's different union and equipment and everything. I'm 70. There was a great pushback against digital but film lost and everyone went bust on film ( Polaroid, Kodak, etc.) and all the film cameras with mitchel movements are now used to moor sailboats. It's frustrating to have to learn new stuff and make it work the way you used to do stuff. Bleach baths for color are now done digitally, and film grain is now 'noise'. And things keep changing rapidly. I don't get, for example, how anyone can develop a variable frame rate. What the ??

The red raw needs to be made linear and debayered before editing. It is proxied ususally. The arri can shoot log c or prores out the camera. I now know of one popular tv show using arri that just goes right to prores out of camera, and they got rid of the DIT station and just use video playback now ( with scopes ) and basically 'what they see ' at playback is 'what gets broadcast'. But those are pro sets where lights are balanced to specific color temp and they have tons of ways to control the shot ( like translites (backdrops) behind walls of windows that make it look like an outdoor scene out there, but in reality is fake. Some are now using giant screens that are like a wall of video, instead of translites. Takes up less room on set. Can have motion cause plate shots are done to play on that screen.

Most people use raw (as prosumers ) thinking they can just change anything they want later ( ISO, WB, F STOP, ETC.) and it will look great. If the white got blown out no big deal. Black got closed, no big deal. That's not how raw is shot on film stages. It's matched just like you would for film, and light meters are used and color meters, etc. Two different mentalities.  And the work flow is what it has to be when it goes to post house..which is like a factory. So it's done fast and a one hour episodic show can get broadcast a couple weeks after it was 'in the can'.

Nobody, and I mean nobody, in my experience, used PC's or PPro on sets. I have no clue what people use in post house.

We are very lucky though. I can stop buying expensive film and having work prints made and have to edit on a flatbed. So it's cheaper, less toxic (no more chemicals), faster, and I can edit in my house with a computer and monitors that cost maybe about $8,000. I got my video monitor used from a DP friend who had to upgrade to 4k (mine is full HD ), so saved a few thousand on that.

Unfortunately I am not good at shooting and using fluid head and I haven't made quality stuff to edit. But I use pretty cheap nikon d800 with bunch of lenses, and a bmpcc 4k. The nikon I record to ninja and get DNxHD out of it instead of the stupid h264 4.2.0 stuff the camera puts on SD card. The blackmagic camera is BRAW.

You just have to do what you have to do, is what it all boils down to.

How fast new stuff comes out and how fast Adobe upgrades to handle new codecs is a company problem and not mine thank goodness.

Lastly, it's not foolish to be frustrated when things are not working as desired. It's normal.

The people who help in this forum often need to repeat themselves a LOT to help those with similar problems who didn't search for answers first.  So now you get two frustrated people. The poster and the fellow user answering post. Yikes.

Good luck. 

If you want to proxy h264 the most common is prores and cineform around here.

DNxHD has also changed a little and same with prores ... in terms of having newer versions for the newer cameras. But once you get it down ( know what works well for your use and equipment ) you'll be happy as a clam.

I got a nikon d800 a while back and it records to SD ( and maybe cf if I want) as mov h264, 4.2,0. It doesn't have a great editing potential or quality potential. It's basically a still camera that added video feature. But it's full frame 35, and I shoot stills sometimes. Anyway, I bought a fairly inexpensive Ninja thing so I could record out of the camera hdmi ( uncompressed signal ) to the Ninja, using DNxHD in a 10 bit space, 4.2.2. ( and higher bit rate ). Better quality, in terms of the space it is now in... but it doesn't add more than 4.2.0, as that is what the chip puts out , and now I don't have to proxy... when I xfer the SSD stuff to internal drives, it's already happy to be edited. 

But I also have a bmpcc 4k with Braw that I use, and that needs to be proxied sometimes even in Resolve.

That doesn't help you, but you can see how I try to sorta skip the h264 stuff... right ??

what are your source properties and what your sequence settings.

have you tried rendering it?  Also you might try setting the frame interpolation in the clip speed/duration dialog to optical flow.  will be a longer render but usually gives you much better results.