10-second delay in Premiere showing "Media Pending"

Started by bwinter88, September 02, 2015, 01:43:47 AM

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bwinter88

I've converted my MLV clips to cinemaDNG sequences using MLVFS. When editing, there is a 10-second delay while the source monitor shows "Media Pending" every time I try to open a clip in the source monitor. I know this is a Magic Lantern-specific issue because the same does not happen with my cinemaDNG sequences from the Blackmagic pocket camera. Anyone else have this problem? It causes editing to be maddeningly slow and totally unworkable.

bwinter88

I believe I may have answered my own question. Looking at the EXIF data, the difference is that BMPCC DNGs are 12-bit and JPEG-compressed, whereas MLVFS is giving me 16-bit uncompressed. Of course the MLV raw files are twice as big as the Blackmagic files (4MB vs. 2.2MB) so it must be choking on the bits.

Andy600

Colorist working with Davinci Resolve, Baselight, Nuke, After Effects & Premier Pro. Occasional Sunday afternoon DOP. Developer of Cinelog-C Colorspace Management and LUTs - www.cinelogdcp.com

dmilligan

Are you using the DNGs through the MLVFS mount or are you permanently converting the DNGs from MLVFS and using those? If you are using them from the mount, they are "virtual" so the amount of data that has to be read from disk is not really 16 bits, even though the files appear as 16 bit (the extra bits are appended on the fly, and this costs nothing in terms of disk overhead). The data is being read from the MLV file and transformed in real-time. Because 16bit data are byte-aligned and we are not using any extra 'real' disk space, having 16-bit output is actually the most efficient (faster than say 12 or 14). It is possible to compress the MLV file itself which would actually reduce disk overhead, but it does add some processing overhead.

bwinter88

Andy I will check out slimraw that sounds like exactly what is needed, although dmilligan are you saying that the DNGs are actually lighter if I access them directly from the MLV mount? If I understand you correctly the empty bits added become "real" when copied from the virtual drive? I have in fact converted them from the virtual disk by copying them, sounds like that was a mistake?

In any case I have reverted to making compressed proxies, I actually really enjoy "developing my negatives" in After Effects ACR, but the real reason boils down to Premiere's lackluster handling of raw video. Actually dmilligan you may be equipped to answer this: when I apply lumetri effects to a cDNG clip from MLVFS, for example an exposure adjustment, I see noise in the shadows that I don't see if I apply the same affect in ACR...is Premiere only addressing a limited number of bits? Is there a setting to address all the bits like ACR or is that a limitation set by Premiere to allow real-time performance?