Starting your video editing journey can be tough on a slow machine. I will explain some tweaks that can make the experience smoother.
There’s a reason why post-production facilities love a Mac Pro or customized PC Workstation. In fact, old editing systems are purchased alongside high-end machines that run the software. It’s no secret that video editing is a computer-intensive task. So I’m going to run through some easy optimizations that can solve a lot of headaches.
Step 1: Prepare the video file
Many photographers may not realize that professional video pipelines often need optimization to function correctly. For example, the head of a production department might ask all cameras to avoid shooting in the “long GOP” compressed format. These types of files will force the computer to work more than necessary. For tight turnaround manufacturing, these are make or break decisions. In short, the more compressed a video file is, the harder it is for the computer to decompress it.
In 2010, it was important for indie productions to transcode all footage into ProRes. This will result in large file sizes, but the uncompressed nature of ProRes makes editing nice and smooth. It’s part of what made Atomos’ recorder very popular during the DSLR revolution. Today, we have better workflows for smaller products that don’t result in large file sizes.
Today, DaVinci Resolve, Final Cut Pro and Premiere Pro all support “proxy workflows”. The user will still transcode the files to ProRes, but this time, the files will be much smaller, say a 480p ProRes 422 Proxy file. Then, while editing, the user can switch between the proxy scene and the scene. real. Of course, the final export will be done with real footage.
If there’s one thing that makes your editing smoother, it’s to use proxy files that your computer really enjoys working with. This is a guide for DaVinci Resolvethis is a cho Final Cut Proand here is one for Premiere Pro.
Step 2: Prepare the audio file
If you’re dealing with a lot of audio, consider mixing it down or working with a temporary file. Some computer sound cards can have trouble with too many files playing at the same time, and sometimes errors can arise in your editing software. It can be hard to figure out when sound is your problem.
Now, I’m talking about playing 20 or more audio tracks at once. This can get complicated if you are using composite or subsequences. Unfortunately, most NLEs (non-linear editing software) don’t support audio proxy files, so this will involve manually switching your main audio with temporary audio. If you don’t know how to create your sequence mix, just export your timeline’s WAV file and import it again. Just make sure that the WAV file has the same specs as your original audio, and that the timeline has as few audio files left as possible.
Step 3: The bottleneck
These days, there are very few bottlenecks that aren’t related to the hard drive or SSD your footage is using. However, I want to make sure you work on the obvious elements first, though. Make sure your laptop isn’t on battery so its processor runs at full speed. Try to avoid working in a particularly warm room. Close your browser and stop playing any audio or video files.
Then you should check your drive. Go to Blackmagic and download “Desktop Video” package from the left panel. It will come with their “Disk Speed Test”. This application not only tests your drive speed, but also tells you the limits in video conditions. You may be shocked to learn that your hard drive can only support 720p video feeds. Most SSDs will work fine, but it’s always worth double-checking. For macOS users, you can choose “Disk Speed Test” from the Mac App Store.
If your computer is still struggling to keep up with your video needs, I would consider getting a new machine. Personally I would recommend any Apple machine with an M1/M2 processor. I was completely stunned by the video processing power that the first MacBook Air M1 had. I’ve seen someone do an in-place edit with a client. They cut the 4K a7S III footage without a hitch. At the time, it was the only M1 laptop available. B&H is currently selling it for $899. You may still need to use proxy workflows and own a fast external SSD, but it’s important to note that you don’t always need a larger MacBook Pro.
Editing on a slow machine can seriously disrupt the flow of your art. Overcoming any technical issues is just as important as being comfortable with your editing software. I hope this article helps readers, and of course don’t be afraid to mention your own opinion in the comments section below.
