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Joan_Dh5016
Participant
October 21, 2024
Question

Unexplainable performance issues in Premiere Pro 24.6

  • October 21, 2024
  • 2 replies
  • 230 views

My team has been seriously considering switching to Davinci because of these things:
1. Switching across different workspaces has become a nightmare especially when 4K sequences are active.
2. Toggling proxy's on or off straight up freezes Premiere.
3. The Lumetri Scopes are always glitchy showing the wrong frame until you hit play and wait a few seconds.
4. Files with a .MXF container have the wrong gama in Windows machines and also are very hard to play.
We have a variety of PCs and laptops ranging from i7 12700k 64GB RAM, 3060 12GB ,and fast NVME SSDs to 16inch MacBook Pro with the M3 Pro chip 16GB memory and these issues are all the same.

Our PC's may not be top tear but when inspecting the activity monitor while these glitches occur it seems that nothing is a bottleneck, and we are afraid to invest in better machines only to be limited by these performance issues again so switching to Davinci looks like the best option.

Has anyone else experienced these issues?

 

Ps: We primarily work on wedding projects 200-300GB in size 4K 60fps , 2-3 cameras multicamera sequences and always create low resolution proxy files using Davinci Resolve proxy generator that is much faster than encoder. 

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    2 replies

    Kevin-Monahan
    Community Manager
    Kevin-MonahanCommunity Manager
    Community Manager
    October 22, 2024

    Hi @Joan_Dh5016,

    Thanks for the bug report. I hope @R Neil Haugen had some good advice for you. I think he's right, you may need to do a little tweaking to your workflow based on your source media and interoperation with other applications, like using Resolve as part of your proxy workflow.

     

    The team did experience some bug fixes in the 24.x branch around .mxf wrapped files. You should be clear of any issues in the 25.1 Beta version. You may want to test with a clean project and some sample clips.

     

    You may want to look into spending some time tweaking a newer workflow. Since things aren't working currently:

    1) I'd experiment using the most current Beta version.

     

    2) Return to a proxy workflow that leaves Resolve aside.

     

    Proxies can be encoded in the background by default at ingest (Project Settings > Ingest Settings), so in my opinion, it does not take extra time if you are using the ingest proxies at import workflow, which I can recommend.

     

    If the test works, you may need to abide by slightly different rules that will assist you in achieving more hassle-free edit sessions.

    Let me know if you need help with any of these tests.

    Thanks,
    Kevin

    Kevin Monahan - Sr. Community and Engagement Strategist – Adobe Pro Video and Audio
      R Neil Haugen
      R Neil Haugen
      Legend
      October 21, 2024

      Wow, that's a load of issues.

       

      Workspaces ... I've got nine custom ones, and never a problem going between them. Instantly, and I just get to work. Some of my sequences are above UHD ... some much so. So I can't replicate that at all, somehow.

       

      Are these troubles when using the built-in workspaces? Or with custom ones? Gotta be a way to get that fixed.

       

      Proxies ... I've got no issues there, though all my proxies are created in Me from the "create proxies" command. So I'll give basic advice, which is free, therefore worth exactly what you paid for it.

       

      But ... as someone who works daily in Resolve and Premiere, and works for/with/teaches pro colorists ... I've got tons of time listening to and working with people in both apps. I do not reommend using Adobe created proxies in Resolve, nor using Resolve created proxies in Adobe. It often works, but occasionally glitches. Stupid waste of time.

       

      It's also an issue often with camera generated proxies. Which tend to run better in Resolve, from certain upper level cameras. Lower cost video rigs can be problematic with in-camera proxies even in Resolve.

       

      Time wasted while proxies generate? ... geepers, that's like when needing transcodes. Have it run on Me overnight, or while you're at lunch or break. I certainly hope you're not sitting waiting for proxies to generate. Or transcodes. That's easily overcome with simple scheduling setup.

       

      Lumetri scopes ... huh, that would be a right pain, as color is my biggest 'thing', actually. And I'm not getting that. I'm wondering if it's related to the media involved?

       

      MXF files ... from what cameras?

       

      Some of the current cameras allow the user to set full or legal for Rec.709  files, and that is bluntly WRONG. Period.

       

      Full and legal is only an encoding process choice, it does not affect how many levels of data the file contains. Only how the camera is encoding the exact same data.

       

      By the complete professional standards, all sRGB YUV (techncially, Y/Cb-Cr files of course) are expected, on all proper broadcast-compliant systems, to be encoded as limited.

       

      By those same professional standards, only the 12 bit RGB files are to be in full range.

       

      If you're doing otherwise, you are probably creating a problem. Not solving anything.

       

      Mac Versus PC Video image

       

      And the difference between PCs and Macs ... but only on Macs without Reference modes!!!! ... is due to Apple choosing to use a completely non-standard display transform for Rec.709 video files. 

       

      All broadcast compliant systems ... and all Macs with Reference modes set to HDTV, most TVs, PCs, and Android devices, apply a display transform of essentially gamma 2.4 to Rec.709 video files. (Note, this is not the same as sRGB still image files ... which do get a display transform roughly equivalent to gamma 2.2.)

       

      But Apple, and only on Macs without Reference modes!!!... applies a display transform of roughly gamma 1.96. And this ticks off my many colorist buds royally. Note, they are mostly Mac total geeks, "live" in Resolve or Baselight, and are mad as Hades at Apple over this mess.

       

      So for example, a "standard" Rec.709 video file, but encoded as full, used between a Pc and a Mac (without Reference modes) is a total compendium of contasting issues.

      Everyone's mileage always varies ...
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