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Software: Premiere
posted by Brian Chacon  on Oct. 23, 2017, 3:52 p.m. (1 year, 1 month, 25 days ago)
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I'm looking to reach out to those of you who utilize Adobe Premiere in a Post workflow environment.  I'm specifically interested in your workflow process.  Adobe Premiere's primary claim to fame is it's ability to ingest numerous file formats without the need to transcode prior to adding these files to sequende time-line.  With increasing resolutions (5K and 8K) and ever changing file formats, we've noticed an increase in Premiere related issues (Audio dropouts, freezing, difficulty opening files, etc).  I am interested to hear if any of you have been experiencing similar issues using Premiere or are you transcoding some or all of your files before these files are added to the time-line.

BTW, we have not yet begun to utilize the proxy feature in the newest version of Premiere because of the increased load it would put on our storage.  Nevertheless, we are seriously considering.

Workstations:

Apple Mac Pro (Trashcans)

12-Core 

64GB RAM

1TB SSD Drive

 


Thread Tags:
  software, post adobe premiere, 

Response from Ronald Knol @ Oct. 23, 2017, 5:01 p.m.

Hi Brian!

We use Adobe Creative Cloud (Premiere, AE) in our studio. We are currently also on the 2013 Mac Pro with similar specs as yours.

We do transcode (to ProRes LQ) and work on proxies, only mastering back to 4K/8K when needed. The odd time that an editor prefers to work on native (Red/8K) there are certainly performance issues when having three or four video tracks.

I have found a lot of Premiere issues with AJA (Kona) cards - older (2015.3) versions of Premiere were extremely buggy and there even was a "friends and family" build of 2015 that was specifically done to reduce these issues (and it was not a public release by Adobe).

Also out of my ten Mac Pros, nine have had their graphics cards replaced (by Apple under warranty) because of machine instability issues.
Rumours (not confirmed by Apple) at the time were that the earlier batches of Mac Pros had issues with graphics cards (D500/D700) overheating. 

My suites are currently on the 2017 release of Creative Cloud apps (Premiere 2017.0.1 release) and that build seems decently stable on Mac OS 10.11.5.

Hope this helps.

ronald

 


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Response from Rob LaRose @ Oct. 24, 2017, 9:35 a.m.

For offline editorial, we primarily use a single offline codec (LT) -- we come to know the idiosyncrasies of it in Premiere well and it's light enough that the editor who decides to get fancy and comp 7 or 8 layers of it can get away with it, and it's a native format for our AJA a/v gear.
To its credit, PPro *does* handle a lot of formats natively. Their marketing is "it just works" but as you might imagine, each has its own foibles. I find it simpler to stick to one as much as possible.
The online/offline proxy workflow in Premiere has promise if you plan to finish out of Premiere (but is anyone doing that?), but it'\s incomplete -- proxies made by the app are all made in one place (I think that's still true) with no directory/folder structure, and you still can't use it with merged clips, which puts it out of reach for a huge majority of our work.
We've found that the AJA gear is pretty reliable with it these days (2017.1.x) -- there have been versions in the past that were less than optimal. Of course, you're always just one app or driver update away from misery again.
From an administrative POV, settings management is very poor in a freelance environment where different people are at a given machine every day or multiple times a day. They launched CC with a great settings synchronization model, and then sapped it when they tied it to their named activation model. That's my biggest complaint about Premiere at the moment.
--Rob




--Rob LaRose
engineer |rock paper scissors
245 5th ave 23rd floor new york ny 10016| O212 255 6446



On Mon, Oct 23, 2017 at 3:52 PM, Brian Chacon <content@studiosysadmins.com> wrote:

I'm looking to reach out to those of you who utilize Adobe Premiere in a Post workflow environment. I'm specifically interested in your workflow process. Adobe Premiere's primary claim to fame is it's ability to ingest numerous file formats without the need to transcode prior to adding these files to sequende time-line. With increasing resolutions (5K and 8K) and ever changing file formats, we've noticed an increase in Premiere related issues (Audio dropouts, freezing, difficulty opening files, etc). I am interested to hear if any of you have been experiencing similar issues using Premiere or are you transcoding some or all of your files before these files are added to the time-line.

BTW, we have not yet begun to utilize the proxy feature in the newest version of Premiere because of the increased load it would put on our storage. Nevertheless, we are seriously considering.

Workstations:

Apple Mac Pro (Trashcans)

12-Core

64GB RAM

1TB SSD Drive


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Response from Julian Firminger @ Oct. 24, 2017, 3:45 a.m.
Brian,
Yes, we use Prem extensivly. As you state it can handle a lot of odd content types, unlike Avid. But it has limitations. There's no one rule to rule them all. We have projects that are like the following (Ingest, transcode, editorial, delivery)Prem > Prem > Prem > PremPrem > Prem > Avid > anyAvid > ext > Prem > Premother > Prem > Avid > anyother > ext > Prem > PremThe list goes on.
ext = other transcoder. Of which we use a variety including Vantage, Elemental, CarbonCoder, ffmpeg, Alchemist xFile. We also often use Prem (or MediaEncoder) to do the conform before getting an Avid to do Interplay checkin.It's all over the place. Prem is running on Mac, Avid on PC, the transcoders on a mix.

If you can share the exact formats you're talking about I can ask the ingest team if they have direct experience. I know we have all sorts of issues with HDR/2020 in Premier, either it just reading the colourspace right or processing it at all.
P.S. What Ronald said about the D500/700 cards is spot on. We have had all ours replaced at least once.

Julian Firminger

Senior Systems AdministratorUnited Broadcast FacilitiesAmsterdam, The Netherlands

On Tue, Oct 24, 2017 at 6:50 AM, Jonathan Loomis <content@studiosysadmins.com> wrote:

Hi Brian -

Our editors are working in Premiere CC2017.1.2 with 6K Red Raw but usually at 1/4 playback resolution to avoid above symptoms you mentioned (same Mac model). If they need full playback for a big review or the like I recommend rendering out their sequences beforehand whenever possible.

Like Ronald said earlier Premiere versions (CC, CC2015) were semi-nightmarish at times but it's been much more solid for us in later iterations. While our main editors don't work with proxies (they don't want the added workflow overhead), we have an independent filmmaker who shoots 4k ProRes and she and her assist. editor have been using a proxy workflow with great success since CC2017. If you dial in your import settings and they're using shared storage and the source files never get moved then the offline/ online process can be pretty seemless. Plus it can solve many of your playback related issues...

That being said, other Premiere playback issues we've experienced have been due to misconfigured BlackMagic cards, SAN/ storage issues, misconfigured caches/ scratch disks/ database, people plugging things into the wrong TB bus, cheesegrater users selecting OpenCL for projects and trashcan users selecting CUDA, etc. etc. the list goes on.

Also here's some useful tests on getting creative with Premiere's caches/ scratch disks:

https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-2015-4-Storage-Optimization-854/

Hope that helps!

- Jonathan


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Response from Jonathan Loomis @ Oct. 24, 2017, 12:50 a.m.

Hi Brian -

Our editors are working in Premiere CC2017.1.2 with 6K Red Raw but usually at 1/4 playback resolution to avoid above symptoms you mentioned (same Mac model). If they need full playback for a big review or the like I recommend rendering out their sequences beforehand whenever possible.

Like Ronald said earlier Premiere versions (CC, CC2015) were semi-nightmarish at times but it's been much more solid for us in later iterations. While our main editors don't work with proxies (they don't want the added workflow overhead), we have an independent filmmaker who shoots 4k ProRes and she and her assist. editor have been using a proxy workflow with great success since CC2017. If you dial in your import settings and they're using shared storage and the source files never get moved then the offline/ online process can be pretty seemless. Plus it can solve many of your playback related issues...

That being said, other Premiere playback issues we've experienced have been due to misconfigured BlackMagic cards, SAN/ storage issues, misconfigured caches/ scratch disks/ database, people plugging things into the wrong TB bus, cheesegrater users selecting OpenCL for projects and trashcan users selecting CUDA, etc. etc. the list goes on.

Also here's some useful tests on getting creative with Premiere's caches/ scratch disks:

https://www.pugetsystems.com/labs/articles/Adobe-Premiere-Pro-CC-2015-4-Storage-Optimization-854/

Hope that helps!

- Jonathan

 


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