RED continues its Solitary Series with a dive into proxy workflow.
In two previous seminars, RED covered the benefits of 8K resolution and walked us through REDCODE RAW. In the third installment of its Solitary Series, RED will cover the basics of creating proxies for R3D files via a livestream today, Apr 15, at 10:00 AM PDT.
For editors with an aging computer, or when higher resolution files become too difficult to work with, creating a proxy workflow can streamline projects and save on rendering times. Most major non-linear editors, including Avid, Final Cut, DaVinici Resolve, and Premiere Pro, support proxy workflow, and the process doesn't need to be reserved for RAW and uncompressed video.
If 4K UHD video was shot with H.264 codec, you might want to consider creating lower resolution proxy files as H.264 is a processor and GPU intensive codec. Editors might even suggest to transcode H.264 to ProRes altogether, but keep in mind, if the H.264 is 8-bit, it's not magically going to become a 10-bit ProRes file.
That said, proxy workflows are common among editors, but if it's a new idea to you, the RED seminar is a great place to start. The livestream will detail how to set proxies in-camera on a RED DSMC2 or Ranger. It will also demonstrate how to create proxies in DaVinci Resolve, edit them in Premiere Pro, and through an XML file, re-link them to the original R3D file in DaVinci Resolve for grading.
- Generate proxies within DaVinici Resolve
- Import proxies into Premiere Pro
- Editing with low res proxies, highlighting the pros and cons of the workflow
- How to export an an XML
- Re-linking the media for final grading in DaVinci Resolve