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Premiere Pro - it's hot garbage at the moment!


Andrew Reid
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Even when working in 32bit float in After Effects I've noticed banding in HEVC S1 files and a darker different gamma compared with the same files transcoded to ProRes 422 in OS X first, where there is virtually no banding to speak of even in overexposed skies.

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3 hours ago, Avenger 2.0 said:

So which graphics card from amd/nvidea would one recommand that has the best support for Canon/Panasonic 10-bit h.265?

A few members have reported that the RTX3080 can edit the files from Canon. Your 10bit question was a bit vague though, there's a big difference in editing 10bit 4:2:0 footage which is what everyone but Canon offers vs. Canon who only outputs 10bit 4:2:2. 

For 4:2:0 footage nearly any modern card will do, I'm using an RTX2080Ti to edit my S5 10 bit 4:2:0 footage. This same setup couldn't even playback 4:2:2 10 bit footage from the Canon R6.

 

On 6/18/2021 at 8:51 AM, Andrew Reid said:

Can't edit Canon LOG 10bit

Can't display Fuji H.265 right!

New blog post:

https://www.eoshd.com/news/when-will-adobe-fix-premiere-it-kills-fuji-footage-and-cant-edit-canon-10bit-c-log/

 

IMO PP has been hot garbage for many years....the day they started charging a monthly subscription fee was the day they went into the dumpster for me. I switched to Davinci Resolve and it was the best thing I have done in a long time. DR 17 is definitely the best version yet and it just keeps getting better. Once they improve the performance of Fusion it will truly have no equal in my book.

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1 hour ago, HockeyFan12 said:

Even when working in 32bit float in After Effects I've noticed banding in HEVC S1 files and a darker different gamma compared with the same files transcoded to ProRes 422 in OS X first, where there is virtually no banding to speak of even in overexposed skies.

How are you transcoding to ProRes? Resolve? 

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This is sort of worst case scenario meant to highlight a problem, flat blue sky overexposed then pulled a few stops. Usually the footage looks fine in both. There are a few generations of corrections here too, in practice it's not quite that bad.

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I'm very curious about what Andrew mentioned, that GPUs can't hardware accelerate 10 bit 422 footage.  Is that only when it's compressed in-camera, or is there the same issue with Atomos-produced ProRes 10 bit 422 footage?

Please don't say I have to buy your software to discover for myself (I bought a lot of your picture profiles and use them, they're great but this is just a one-question one-answer thing)

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1 hour ago, RawZion said:

I'm very curious about what Andrew mentioned, that GPUs can't hardware accelerate 10 bit 422 footage.  Is that only when it's compressed in-camera, or is there the same issue with Atomos-produced ProRes 10 bit 422 footage?

Please don't say I have to buy your software to discover for myself (I bought a lot of your picture profiles and use them, they're great but this is just a one-question one-answer thing)

ProRes was made to be easy on CPU/GPU, so not sure hardware accelerated support will give any advantage. For h264 and h265 hardware accelerated support will give significant advantage.

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3 hours ago, RawZion said:

I'm very curious about what Andrew mentioned, that GPUs can't hardware accelerate 10 bit 422 footage.  Is that only when it's compressed in-camera, or is there the same issue with Atomos-produced ProRes 10 bit 422 footage?

Please don't say I have to buy your software to discover for myself (I bought a lot of your picture profiles and use them, they're great but this is just a one-question one-answer thing)

It doesn't apply to ProRes.

This is a H.264/H.265 thing

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It also depends what problem you're referring to. If it's the crushed blacks and clipped highlights then that can also be a hardware acceleration issue in Premiere. If it is Canon LOG 10bit 422 from the R5 and R6 (and 1D X Mark III) not playing-back smoothly in Premiere then that's a separate issue and means the decoding of H.265 is being done the slow way.

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there are bugs in premiere I have been trying to resolve (boomtish) for like 6 years.  I even ended up tweeting at various managers to try to get their attention. Theres one that was introduced after ppro2018, which has kept me on that version. I've thought about making a Louis Theroux style documentary where I try to get adobe to repsond. It's hilarious how shite they are at dealing with bugs

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It's important to remember that Adobe's making money hand over fist with their not-so-new business model. Time will tell if this model improves the quality of their software in any way shape or form. Arguably, it hasn't done anything for significant speed improvements (which is what most people want) before new features. It must be so frustrating for some people that pay for this.

Personally, I just cannot bring myself to reward them for this model. Also, I'm sure they're looking for ways to "lock" you into it so they can perpetually receive monthly money (even after you're dead?). The seemingly harmless $10/month doesn't seem so harmless anymore.

@Andrew Reid, maybe you could make a video on this too. What exactly has Adobe brought us in the past 5 years with this model?

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13 hours ago, John Matthews said:

perpetually receive monthly money (even after you're dead?). The seemingly harmless $10/month doesn't seem so harmless anymore.

There was some mumblings about Apple moving FCP to this model. Most likely in a bundle with their other Pro apps like Motion 5. I think this is a terrible idea, especially since they aren't feature complete like some other apps...however their performance is top notch.

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26 minutes ago, Video Hummus said:

There was some mumblings about Apple moving FCP to this model. Most likely in a bundle with their other Pro apps like Motion 5. I think this is a terrible idea, especially since they aren't feature complete like some other apps...however their performance is top notch.

Performance is more important than dog-slow features IMO. A "feature" should work well out of the box, not in 10 years (the amount of time it takes for enough people to complain for them to improve it). You only use features that are worth using; otherwise, they're not features, just eternal frustrations.

I hope Apple doesn't change now or ever. If they do, I'll be looking elsewhere.

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11 minutes ago, John Matthews said:

Performance is more important than dog-slow features IMO. A "feature" should work well out of the box, not in 10 years (the amount of time it takes for enough people to complain for them to improve it). You only use features that are worth using; otherwise, they're not features, just eternal frustrations.

I hope Apple doesn't change now or ever. If they do, I'll be looking elsewhere.

It will only work if there is some special sauce related to Apple hardware. Otherwise, just buy Resolve.

I would still like to see a few built-in, hardware accelerated features that are included with Resolve, namely: Content-aware erase tool for video, 3D tracking of most objects via Neural Engine, a "AI" assisted color matching tool that is a 90% solution for quick and dirty color matching (I would use this for drone footage).

Anything else I'm happy to have covered by plug-ins and keep the core of FCP fast and performant.

 

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1 hour ago, Video Hummus said:

Content-aware erase tool for video, 3D tracking of most objects via Neural Engine, a "AI" assisted color matching tool that is a 90% solution for quick and dirty color matching

Didn't the content erase and smart colour matching appear in DR16? 

Or was that something kind of similar, but not quite the same?

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15 hours ago, Anaconda_ said:

Didn't the content erase and smart colour matching appear in DR16? 

Or was that something kind of similar, but not quite the same?

Resolve has it, yes. I was hoping FCP would add those native features too.

Currently FCP doesn’t have a non-plugin way of doing those two things. 

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