Re: Qual Formato Para Windows Movie Maker
Matty Fiedler
Personally, when I use proxies I take the included Cineform ones. They work beautifully. If they're at times larger than the H.264 originals for space on disc. But they can be deleted at the end of the project as you can make them again if you revisit that project.
The t-code/smart-rendering you do can also be a slick process. Proxies and t-codes take a bit of time to make, and some storage whilst working ... but the working time is vastly improved. So it seems worthwhile to plan the time. And of course, MediaEncoder can work over-night without charging overtime ...
I've been making proxies using h.264 purely because I can share the online with my clients via our web browser / cloud... they are quick to download for remote editors too. Timelines can be sticy though so I might tak your recommentdation to make both proxies and transcodes. By the way, if you are reasonably clever in Macos Automator, you can get FFMPEG to create all of this for you automatically when you drop new content on your drive. Then you just attach as needed in Premiere. Creating them in Premiere requires way too many steps! Thanks for your article.
I have to disagree with you. Now that I have my preset setup I just turn on ingest, when I make the project and as soon as I drop any clip in Media Encoder opens on it's own, proxies it and pauses when I'm using intensive cpu on premiere and then attaches it automatically. So rly just drop it in my project and it's done and attached.
me, I'm a creature of habit and having spent the last 20 no make that 30 years in apple land, I'm used to prores (not that prores was available back in the day). I'm mainly working on a windows machine now, but prores is still available and prores proxy gives me the visual quality and ease of playback I need and I have clients that are on mac so that makes it easier also. Seems safer to me just to make my proxies with the same pixel dimensions as my camera original although I know I don't need to and haven't had any issues with 4 angle multicamera shows with 4K proxies .
For all the whining that goes on in this forum, for me Premiere is a great piece of software that I can adapt to my workflow needs which are constantly changing. and of course the people who contribute so much to this forum (and you know who you are) are an enormous help.
Thank you so much for putting this article together. It's very helpful.
I have a question:
Let's say my original footage is H264. I create Apple ProRes 422 Proxies (all same settings except codec) so I don't loose resolution while editing and also it's a smoother editing.
After the proxies are done, the "render bar" is still yellow regardless if the proxy toggle is on or off.
How can I create Apple ProRes proxies and experience a fully native/smood editing?
I tested bringing in the ProRes 422 proxy file by itself and creating a sequence based on those settings and the render bar did not displayed any colors (good). I dragged the original clip from premiere (the one that has the proxy attached to) with the proxy ON to the same sequence, and the render bar gives turns yellow.
I'm guesing that it's showing the "render" state for export rather than playback but the important question is performance. If you're getting realtime high quality playback with the yellow bar, no worries. That said, always good to know what's going on so I'm guessing someone here with more knowledge than me will pipe up...
Thank you.
I tried chocking the computer with scanning forward and backwards but I can't tell a difference on performance at this stage. I only have 1 clip at the moment.
I wonder why it gives me no render preview color with the porxy file brought in versus giving me a yellow render preview color with the proxy ON with the original clip. It's the same Apple ProRes file.
Just a note: sometimes it makes sense to "make offline" the camera original and relink to the proxies. This allows you to export for client review much more quickly. When you're ready to finish, just reverse the process. I spent a week trying to make proxies that would work for material shot on the sony fx7 which has 8 audio tracks embedded in the file in some proprietary fashion. Finally just did the make offline and linked to the proxies which worked fine if not as elegantly as the official proxy workflow.
I am working on a big project with 4K footage and I started making Apple Pro Res 422 proxies to the new footage. I then found that the older footage on the project had Go Pro Cine Form proxies already done.
So my question is if it's ok to work on a project with different codec proxies, both Apple Pro Res 422 and Go Pro Cine Form or if I should ignore the new proxies and just convert all the footage to Go Pro Cine Form proxies? It's been all night encoding, so it would be great to have some advice on this before restarting..
I'm working on an under-performing Mac mini (2020 with new M1 chip) that's having the same speed/rendering issues as the 2018 version. I'm just trying to get through an urgent project and then upgrade.
I created Apple Pro Res proxies of 3840x2160 footage down to 1024x 540. My sequence is 3840 but preview is 1920x1080. I'm still having playback, rendering and audio issues so I thought I should render again with a lower rez. Would that help? If so, how would I do that?
I edit social justice videos only twice a year, so I have to re-learn basic stuff all the time. Just when I get to intermediate status, I stop using it and go back to beginner status, so talk to me like I'm an idiot.
Just a quick addition to this thread. Always test your proxy workflow on a couple of clips before spending hours exporting a full complement of proxies. You need to confirm that the proxies stay attached and that you're happy with the quality and performance. You can make sure the proxies are attached and working properly by including a subtle watermark to the proxy preset (which seems like a great idea, but be sure your client understands and approves this) and you can also easily monitor the proxies by setting up a metadata preset showing whether the proxies are attached or not and the file path for the proxies.
That said, it's clear to me that Adobe has improved the proxy workflow over the last few major updates. Previously I had serious issues with proxies made from certain sony formats staying attached that were caused by some sort of proprietary format for the audio channels. That problem hasn't reared it's ugly head for at least the last year. Of course I suppose it's possible that sony has changed something in their format...
I just insert my 5 cents from personal observations. With proxy, everything becomes much smoother, except for the fact that a large project begins to open even longer than it is traditionally long ago. I mainly work in AVID, which does not spend any time on the conversion of files, as it automatically happens in the premiere with any footage placed there.
Another observation is that the creation of the proxy files in Media Encoder is completely stopped if you continue to work in the Premiere. In AvidMC, there is a background transcoder, which is part of a composer, and not a distant program. So, transcoding can go in parallel with your work if you set it up like that(one click). In a word, I spend a lot of time on the work of the Premiere, which I save in Avid. I hope that my experience will somehow be taken into account by those on whom Premiere's update depends, which, however, is updated and so crazy quickly, unlike Avid, who simply works like a Swiss watch. Thanks for post.
While we are looking for this magical button... Background Transcoder in AVID allows to render not only proxy(or any other format), but any used effects while you continue to work. I would like to find the same option in the Premiere. If this is not too big a whim. Thanks.
I do not work by virtue of preferences, but by virtue of necessity. The main part of the projects in AVID, but sometimes you have to do work in the Premiere, finishing or remaking other people's projects.
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The Remote Viewer application provides users with a graphical console for connecting to virtual machines. Once installed, it is called automatically when attempting to open a SPICE session with a virtual machine. Alternatively, it can also be used as a standalone application.
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