..has there become a standard method for proxy editing in the Premiere Pro community?
I don't think there's a whole lot of proxy editing going on anymore. I believe that's a result of the focus on native support for original media and hardware acceleration to assist in real-time playback without the need for transcoding or proxy editing. Usually, proxy editing questions are from someone who is trying to overcome the hardware shortcomings of an underpowered system.
It seems to me that fooling the program by sneaking in
a folder of your hi rez stuff to replace all clips at one time is easier.
Probably so. The problem comes when you have (for example) .MXF original media files that have been flipped to .MP4 for editing. Re-linking can't be done by swapping out or renaming a folder.
joe bloe said: >" Usually, proxy editing questions are from someone who is trying to overcome the hardware shortcomings of an underpowered system."
No offense, but that seems to be a pretty stock answer around here. It's akin to saying that one shouldn't use Adobe Premiere unless they are rich. Well I for one can't afford a better system right now, as I suspect many can't, or proxy editing never would have developed. And based on what I see on the web, proxy is still going strong.
Any other opinions?
Any other opinions?
Just because you've read this answer more than once
doesn't mean what's expressed is less than valid.
In fact, you should maybe start to think it's true.
" It seems to me that fooling the program by sneaking in a folder
of your hi rez stuff to replace all clips at one time is easier."
Why not just do that until you can afford a real editing rig.
Premiere has never been much used in proxy mode and was not well set up to do so. I would say there is no "standard" way of doing so in Preimere.
Reason was that Premiere was always very useable with multiple movie file types and developed it self around the fact that transcoding was not necessary. (eg. a la FCP). So no one much bothered with it.
Obviously as HD became more the normal ( eg. in the hands of amateurs) the demands on hardware became more intense.Joe is correct in his observation from many posts that have gone before and he was not giving a stock glib answer or putting you down.
If you want to transcode and do a proxy edit..do so..but you need to find a workflow such as EDL or XML or other timecode driven method to achieve it.
I fully understand that my computer is limited in HD video editing capability and a replacement is necessary, and I realize that joe most likely understands this. I'm a retired video hobbist (video producer when I was working), and...well, I'm poor! I can't afford any computer upgrades right now, so I'm trying to fine workarounds to the HD editing problem (which is partly how proxy editing came to be in the first place). Clearly people are still doing this, and while I may understand it, I'm just not sure how to impliment it. I'm certainly not looking to upset anyone here.
You are not upsetting anyone here at all.
We are just saying that proxy editing does not come up much in Premiere forum (because Adobe designed an app that does not really need it)..but when it did come up...it was generally for reasons such as your own where source footage overtook the capabilty of the hardware.
DV editing was as simple as it got and managed by everyone once upon a time..
Understood. Of course, even Adobe wouldn't know what systems it's software would be used on...ahh well.
Setting aside the proxy discussion for a moment, years ago when I was using Premiere 6 (or 6.5) to edit, Premiere was known for being very .avi friendly. I don't know if that's true today. So what would be the best format to convert to for importing footage into Premiere, that started life as HD 720p .mov files? Does Premiere still prefer .avi files? I tried converting some .mov files to .avi with a Matrox Microsoft Video 1 codec and imported them, but Premiere refused to even open them???
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I don't know why people can't just answer the question asked instead of having to give the alternative "that's not the way things are done" or "no one does that anymore." The guy asked a question. Answer the question if you're going to comment at all, otherwise you just sound snarky and unprofessional.
For example, I have a brand spanking new Mac Pro, but it still gets hung up on editing with 4k media, often mixed with other media, after building more than 3 tracks. Also, I like to be able to edit on my Macbook Pro at home sometimes. Doesn't it make sense to proxy edit with files that actually cause no hangups whatsoever b/c they're small enough, and yet still usable for offline editing? It really doesn't cost me any time to let AME render the files overnight, and I can then edit the project from anywhere.
So to the OP, as long as you named your proxies the same file name, you can usually direct your re-link to the hi-res source footage folders and PPro will find the rest.
I think proxy editing can actually be a huge timesaver if you manage your project and render schedule properly.
I get real tired of people having to insert their tangential or off-topic responses that have no bearing on what the OP is trying to accomplish.
And as far as a standard workflow, I'm not sure, but you do NOT have to relink one one by one. If you right click with all clips in the timeline selected and 'make offline' (but keep media), when you go to relink in media browser to the 'online' originals it should find the rest of the original media in the same directory (assuming file name match). You have other parameters that can be used to re-associate with the new media–the checkboxes are pretty explanatory.
I have to agree, saying that underpowered systems are at fault doesn't count for so much. Resolution increases as fast as our CPU power does it seems and new long-GOP codecs (4k h.265 for example) might not play back on a machine that did fine with 1080 h.264. Hit the 'L' key twice for double speed playback then hit the 'K' key to stop and then the 'J' key in quick succession to rewind. Try it on your turnkey system with a nasty long-GOP and 4k–8k media. Now try it with a ProRes file and see if there's a difference. My suspicion is that there will be. I'm on a decent system and, as a heavy keyboard editor, I can't stand the delay with h.264 when I'm doing a quick edit. I think there's a huge benefit to proxies still in a lot of situations. Resolve has a much more intuitive proxy workflow (and manual) by the way, at least in my opinion.
Hope that helps.
I have an iMac with 32 gig of RAM and Fusion drive with all the top of the line peripherals (the best rig that MAC offered at the time I jumped in.) I have recently started editing in 4k and I am having all sorts of issues with the computer hanging. I am shooting a lot of music videos. My background is in Music so I'm used to managing massive amounts of audio layered up to a 100 tracks plus on the timeline in LOGIC PRO. The music videos are much the same although a lot less tracks. I often have say 20 takes of linear video all starting in the same place on the timeline. I then addition and cut the selected parts and drag them on to one master track in my video timeline. I'm researching to see if this Proxie scenario is something that will help me overcome this stuttering I'm encountering ?? any ideas?
I notice that if i cut and erase one track at a time i encounter less problems but that does not give me much flexibility to go back and forth. Unlike other applications I cannot cut parts out and drag to the timeline - i need to audition and go back and forth between various takes to see how cuts works visually with the music.