Your H.264 is nasty stuff, and you may need to work with the settings in the preferences for hardware/software encoding to see which works best for your machine.
Next, Premiere bluntly demands a LOT more of the computer than older versions did. And it still does vastly better with mulltple drive setups, as long as the drives are internal SSDs. Spinning discs are better as main storage and non video purposes, but any 'active' media will do better on an individual SSD. So something like SSD for os/programs, SSD for cache, SSD for project, SSD for media will get better performance and playback/export times.
Then ... proxies are made in the background while you work. And yes, especially with H.264 and high K-count media, proxies are still a normal part of the editing/post process, and will be in the future. I don't know how many people I've had say "why doesn't Premiere simply optimize the media like Resolve does?"
It's because ... BlackMagic calls their proxies "optimized media"! When you "optimize media" in Resolve, that is exactly what you are doing, creating proxies.
Further, quite a few editors will use watch folders in MediaEncoder when they're given either a bunch of H.264, or often even just for jobs with several different format/codec combinations. With the watchfolder settings causing Me to transcode all files to a specific format/codec combo that 1) is easy to work with and 2) maintains full quality. Something like a mid/upper ProRes, Cineform, or DNxHD/R variant.
And run that over night or while they're of doing lunch or whatever. Creating transcodes while you're working is ... silly, to me.
Of course, another option is to have a slightly less capable machine that you just use to do the t-codes on while you're working on another project.
Proxies and t-codes are going to be around as a main editing/colorist tool probably forever.
Neil
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