When will Premiere work seamlessly with 4k video?

From the comments I've been able to get from the development team ... the picture I have is that the default kerning code in Premiere is actually 'borrowed' from a straight application of the optical kerning mode in Ae. And when they added in the ability for the user to manually touch kerning in Premiere's EGP, rather than using the full options for kerning controls, they just made a few "tweaks".

With as noted, an odd assumption or two ... no information as to what's happening behind the curtain ... and ... inconsistent behavior between fonts. Maybe, having brought this to some attention, we can get usable kerning in Premiere?

Neil

Oh, Jim, PLEASE ... vent away!

Oh my gosh ... "kerning" ... in Premiere. Ouch.

I was working with the 'base' font of the EGP which for some reason on my machine is Minion Pro or something like that ... it's ok, basic tutorials, works fine. Went to adjust kerning between a w and an e ... what the ... HAY???????!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

All of a sudden, EVERY character jumped space-out several 'clicks'. Totally unusable. And for the next 3-4 attempts to add a text line, it was staying 'wide'. Then ... it was back to normal. What the ... ???????

So I went after a few people ... finally got an engineer's response.  To the effect of ... no, you're right, kerning in Premiere is not the same as in AfterEffects or Illustrator; Premiere uses an "optical" default setting. Among other changes, we assumed that anyone wanting to kern wanted to turn off kerning, so when you kern between two letters, Premiere will turn all kerning off for that font and graphic element.

Um, when would any user ever want that behavior? But I tried other fonts, and it's not totally consistent. I finally got a UI Experience person to pipe into a discussion on it, who said that ... I'm right, this is not consistent, some fonts turn off all optical kerning if you manually kern anywhere, some ... don't.

Well, that's ... not a helpful situation. So I've sat on the engineers about that. And although there are some kerning posts on UserVoice, I added this one ... and would love everyone to go vote on it ...

Allow Users to Control Kerning in the EGP

Neil

Jim,

Always fascinated with with the many ways we each look at things. I know quite a few working pros who use mogrts in Premiere heavily ... and also use Ae to make higher-level ones especially for wider distribution. Talk about removing mogrts from the app, you'll get a ton of arguments. The old Titler is ancient tech ... so not sure what you'd be expecting people to use for graphics.

Side-chain capability would be a good addition, no doubt there. Or really get Audition fully "dynamic" link to Premiere as it seems it should be ... really, I'd prefer the operational model of the "Direct Link" they had between Premiere and SpeedGrade for the last year or two of Sg's life. That said, I know of a fair number of working folks using the ESP. Though I do think more like to have their own preset workflows setup to drop on something.

I've been around discussions where someone says "NO broadcast media is ever graded in Lumetri. Period." With another person standing there who's done a couple hundred hours of coloring broadcast eps in Premiere/Lumetri for "major networks".  And last NAB, I talked with a guy that did a bunch of the graphics for a large awards show. In a total crew he figured well above 100 folks. And much of the graphics for that specific show were done in Premiere "rather than taking the time to go into Ae ... ". I think I would have elected to go into Ae for those, but he said they already had most of the elements available in Premiere, it was just re-arranging some things. Spiffing a few things up. Throwing in a couple mogrts that did have a special effect you couldn't do in Pr.

I figure that guy is a bit more of a mogrts production expert than I ... and was thrilled to ask a ton of questions. And that new rig of yours sounds rather ... nice. I'd love to look over your shoulder whiule you're working sometime. But then, there are SO many other people in video post I'd also love to watch work. Just to learn ...

Neil

I just cut a 4K sequence with 8K RED RAW source footage.  I was able to play the source footage at 1/2 resolution with no dropped frames, and my Sequence at 1/2 resolution with Colorista IV and Lumetri effects applies in real time with no dropped frames.  I could switch to full resolution, and get occasional playback without frame dropping.  This is likely only possible because I have a 2019 28-core MacPro with 256 GB of RAM and an 8-drive SAS RAID with between 600 and 1800 MB/s sustained io.

I had a pretty beefy 2019 iMacPro for a few weeks last year, and my performance with Pr 2019 wasn't much better than it was on my 2012 MacPro5,1 cheesegrater.  What that, plus the host of tales of woe on this forum tells me is that Pr works fine on a super computer, but isn't well optimized for older, lower end computers and large format media sources.

I think that Adobe should split Premiere into Pro and just plain NLE (not even premier, a word that means "best") that's optimized and maybe trimmed down, feature-wise for other than the best, fastest, most expensive current computers.  BMD seems to be doing this well with Resolve, according to the abundance of enthusiastic reports I've read.

Would need to understand more about your setup. Kevin's question is on point. Ideally it is better to have you media on a seperate drive, definetly not on the internal. It will be also better if you cache folder is on another seperate drive.

Jumping to what drives should be used, when going with external, SSD is a good choice, but a RAID 0 stiped drives are better in performance from my experience.

Seb,

What is the exact model of your iMac? Do you operate with your media files on a Thunderbolt 3 attached SSD?

Thanks,
Kevin