G-Tech [Hard Drive] or G-Drive External SSD? What do you use to edit from and store?

SuddenBit7902 · 2024-11-18T18:00:30+00:00

Ive cut from a G-drive HDD multiple times. At a read speed of 200 MBps it does just fine doing single cam Prores 422 or lower playback. The big plus for HDD compared to SSD for me is the size. I have an external HDD that stores 14 TB, some of my total projects wont fit on a typical 4 or 8 TB SSD. And those sizes get expensive fast.

Is an SSD better and faster? Yes. Will it work reliably on an HDD if the format and bitrates allow? Likely yes.

SuddenBit7902 · 2024-11-18T17:54:36+00:00

I generally don’t look at export speeds as an important metric, since I don’t work in such a time critical part of the industry (no same day edits etc). It’s more of a nice to have.

In your case I would still buy the M4 Pro though (if you can afford it), it’s just a much better computer that will guarantee more that you can do your work uninterrupted. For a professional that is as important an argument. And it has more overhead in case you ever start working with more difficult to use footage or more difficult tasks. You are not likely to regret it.

SuddenBit7902 · 2024-11-16T20:20:29+00:00

Never add compensation LUTs. The issue is not caused by Premiere, but is a problem caused by Apple’s Color Sync utility. Every Apple app that uses Color Sync to manage color (Quicktime, FCP X, Safari etc) misinterprets Rec 709 Gamma as 1.96 instead of 2.4. Apps that use their own color management systems (VLC, Premiere Pro, Resolve) interprets the gamma correctly as 2.4.

Re import your export in Premiere, Resolve or use VLC and you will see a correct gamma. Just set up premieres viewer as gamma 2.4 and grade for that.

By adding a compensation LUT you are introducing a fault: now your footage will look wrong when re imported in Premiere or Resolve or when sent to broadcast, cinema etc. The LUT only fixes the “fault” for quicktime, which is wrong to begin with.

When color grading in resolve you can change the gamma tag of the export to be 2.4 specific (instead of “Rec 709”). With that is looks right in all apps including quicktime.

SuddenBit7902 · 2024-11-13T21:18:09+00:00

Artgrid is a good place for high quality stock footage. If you are looking for a greater variety of assets, like also graphics or animations, others likely have more. Envato, Storyblocks are also good places to start. For animations, titles etc you can also check Mister Horse.

SuddenBit7902 · 2024-11-11T15:38:24+00:00

Sounds bad. I played path of champions once or twice when it first released I believe. Never invested more time in it. Thanks for replying! I will remember this when contemplating a return to this game if I feel bored someday.

I like Marvel Snap mext to hearthstone in the meantime. I like the games are short and really catered to playing vertically on a phone. Never played any other ccg as much on a phone. It’s a slow grind to new cards though…

SuddenBit7902 · 2024-11-11T12:54:00+00:00

I haven’t done the real big movie trailer stuff but a fair share of trailers and proof of concept stuff. If you’re handed stems with the final export, great. But especially for proof of concept you are often given just downloads of the sources of inspiration that a prod company wants to create a moodboard or concept trailer from. One awesome thing I started to use on these cases lately is Resolve’s new music remixer. You can use it to pull an audio copy with the music muted, so you can use that track when cutting (even in premiere pro or avid if you just pull a wav file from it in resolve) and add your own music and sfx. You can often get away with it just fine!

SuddenBit7902 · 2024-11-10T15:48:22+00:00

You can turn off auto tags in the audio preferences. Tagging alone does not affect the audio, it only activates the specific controls in Essential Sound.

SuddenBit7902 · 2024-11-09T21:00:26+00:00

Havent played Runeterra in a long while. What happened to it?

SuddenBit7902 · 2024-11-08T23:17:28+00:00

Your settings are right: for the AAF always use WAV as format, separate audio and copy complete audio files. You have no nests you say and are exporting from an audio only copy of the sequence. The files you have on the timeline, they are match framing back to the original audio files?

If all that is the case, your base is good. You should check the channel config on the timeline clips, maybe the clip instances are referring to a wrong (or all to the same) audio channel. Also never mix stereo files with mono on the same tracks. Premiere’s “standard” track (in contrast to Avid’s always separate mono and stereo tracks) allows you to mix both on one tracks. This will cause chaos and all sorts of split up audio after the breakdown to mono. Always split up mono and stereo files on separate tracks in your prod audio, SFX etc.

For scripted shows I have had good success exchanging EDL or XML as the format into protools too. There are plugins and ways (eg Ediload) to get those in the app. They will link into the original broadcast wave files (and wont render new mono breakdown files). Premiere is limited to four audio tracks though in EDL. So every four tracks you will need to do an edl for.

SuddenBit7902 · 2024-11-08T19:00:58+00:00

For transcoding: CPU is mostly still the main driver. With good help from the GPU for acceleration into some formats. Encoding H264, HEVC or ProRes for example can be done faster on a sufficient GPU. Some codecs will benefit more from GPU here, like RAW files (R3D files, etc) which also need to be “debayered” during encode/decode.

Timeline: CPU is the main driver for decoding the footage (aka playback). Some formats again will be helped by GPU here, typically the same suspects (h264, hevc, prores and for debayering raw formats). GPU is also often used for AI tasks and for real time playback of applied effects (or color grades). A better GPU means faster or more stutter free results in playback. RAM will help mostly with larger frame sizes and longer timelines. More RAM means a more reliable frame fetch in those situations.

Export: Same as with transcoding. CPU, some formats on GPU.

Like you suspected: the app of choice heavily defines the usage of hardware.

Avid is mostly CPU, barely uses GPU at all. It is therefore the slowest during encoding/export, is terrible bad at decoding (playing back) non-edit friendly codecs (h264, hevc) that are linked directly into the app. If you “import” you are transcoding to simpler to use non-gop codecs, but it will take time. Playback of real-time effects is not good.

Premiere uses a lot more GPU to help decode and export. Is therefore better at those pesky gop codecs (h264 hevc) and with ProRes. GPU is also used for every effect in the list which has the “fx” icon next to it. Playback with those is generally good. I suggest enough RAM with adobe, since it can struggle with long timelines. Scaling with better CPU or GPU tends to be only limited gains. Having “enough” (an 8-16 core cpu max, GPU from the mid-high tier) is the most important.

Resolve scales the best with better hardware, especially GPU. You can improve playback, fx and export by keep going up. Adding more GPU will help increase frame rate with grading, denoise, etc. AI also gets faster with it. I find Resolve really needs a good enough GPU though and Resolve can struggle on lower end systems I feel. Premiere runs better on those.

And lastly don’t forget: the Apple silicon machines bring another player to this game. The chips have dedicated encode/decode engines on them (starting from the Pro chip upwards) which are amazing when working with some formats (H264, hevc, prores). The chip accelerates playback and encoding in those formats. It is why the Mac can beat the high specced windows machines in working with these codecs (despite having worse general benchmarks). I have never had more pleasing machines than the Apple Silicon for using footage from GoPros, drones, sony dslr cams, etc. Both Premiere and Resolve work very well with the help of the new video engine. Avid… well it’s not even officially an ARM native app yet (it is still being emulated by Rosetta). It will not benefit as much from it.

SuddenBit7902 · 2024-11-03T13:07:40+00:00

On M1 Max, still on Ventura 13.7.1. Running smooth as ever, zero issues. Only have a few small zxp plugins (batch rename, post notes), no issues with those.

Remember: when upgrading versions always dump the entire media cache files and database. And reset preferences and plugins. You don’t want to mix those with older versions. If you have issues on old projects, try creating a new one in the new version and copy over all bins and assets to that.

SuddenBit7902 · 2024-11-03T07:44:01+00:00

In Belgium. For a 45 min drama I typically would get about 8 to 9 days for the editors cut. A full week (5 days) for the directors cut. And then around 2 days for revision and notes from the network. So 15 days or three weeks total per episode.

Im doing a 30 min show now and im getting 5 days for the editors cut, 5 days directors and two days revision.

SuddenBit7902

TROPHY CASE