Finally someone that talks in a clear and concise manner and not like so many other videos where they talk 100 miles/hour and you can't keep up. Thank you, great videos.
Finally someone who really has an idea of what he's doing. In German tutorials there are almost only amateurs working. And even the professionals mostly explain very superficial. I appreciate the background informatio about what certain settings do or could do.
Instead of a Proxy Watermark, I create a preset using Timecode Overlay. When editing with proxies, you not only get your timecode right on your screen, it's also a visual indicator that you are currently viewing a proxy! Great video Colin.
In Media Encoder, in the Preset Settings panel, go to the Effects tab, scroll down to Timecode Overlay and select it. You can use timecode from your source or "generate" it (start at 00:00)
Jeff B thanks... i will try when i get home. quick question... this would have to be done before? because i already had a project set up and then i had manually created proxies for each clip and attached.. is there a way i can add the timecode afterwards?
This video was so helpful! My proxy files where squashed vertically. I didn't know I had to create my own preset since 4096 x 1728 is not a very common resolution. Thank you so much for diving into encoding and ingest presets. You are SAVIOR!
This tutorial was super helpful and I love your energy and way of explaining things - easy to understand but fast enough that I feel like I'm learning at an efficient speed, haha. Thanks so much!
Great timing, I was just wondering about proxies earlier today when your video showed up in my feed :) Thanks for all your tutorials, I'm finding them very helpful!
Colin, thank you very much for the tutorial, you're a very knowledgeable man, I wouldn't be able to do this by my own. There's other videos about proxies online but none of them explained how to deal with different ratios, thank you! I was working with 4.5k WS from Red
ahhhh Colin!!! i wish i just searched your channel for this information! hours looking for the exact way to make my own custom proxy preset absolutely grateful for this video
I really appreciate the time you take To Do this kind of tutorial it help me lot nobody can explain like the way you do question it is faster to work using proxies it is faster to render ?? Thank you
Thanks for your support. Proxies don't make rendering faster because your final export will be based on the original media, not the proxies. It's more about make the editing process faster.
Excellent video. I really need this, and I didn't even discover Proxies until recently. Man, what a deal changer, when your edit jerks and skips, etc. I'm now shooting 4k drone footage, so this is the ticket. Thanks for a great explanation. Marc.
So when it comes to exporting.... You just untoggle the proxy file and export as you normally would? Im guessing all the edits I made to proxies would be automatically transferred to the 4k files and that's what gets exported. Or is there something else I have to do?
TNice tutorials was super helpful, dude! I got the tutorial version of soft soft just to get a taste, and after figuring it out I decided to purchase the
Great video and very helpful. However I am ready to export my final video and needs to be at the Hi-res, How do I handel the process of going from proxy back to hi-res for final render? Thanks for your time :)
Ed Rakel Hello Ed any success in doing multi cam edit using proxies , I going to start a project but bit hesitant so wanted to check if anyone has tried it
Hi Colin, Nice tutorial. It's easy to follow even for me as a beginner in premiere. I still have a question for you. I used a standard ingest preset in premier (1024 gopro cineform). The new proxy filesize became bigger than the original 1920 x 1080 50 frame clip. I presumed the new filesize would be smaller. Is this correct or should I do something else? Can you advice me?
Cineform is not a highly compressed format so if you're original is H.264 and you're not reducing the frame size, the Proxy will be larger. Try H.264 for a smaller frame size. If your original media is HD H.264, then making Proxies isn't worth it. And if you can't playback HD H.264 smoothly, you need to lower the resolution from the dropdown menu in the Program Monitor.
Hello. Thank you so much for all your tutorials!! I was just wondering if there is a work around to working with proxies with external audio. Is there a way to sync the proxies/master clips with out merging so that the proxy will still function on playback with the newly synced clip? Thanks for your time! Romina
+VideoRevealed I know. So there's no work around to this. Then what is the point of using proxies if most productions use external audio. I've also heard that if make proxies first and then merge the clips the proxies are still part of the merged clipped even though it is not seen in the proxy file column. Thanks again!
Great tutorial Colin. Any thoughts on proxy workflow and interpreted footage combined. I can't seem to get the clips in sync when I change 60p to say 24p as an example. The proxy stays at 60p.
I have just started using proxies, thanks for the tutorial. My 4k files are Log (Panasonic V-log) and I found a bug when creating and using the presets in PP/AME. In a nutshell, you are supposed to be able to create presets that include the application of a Lumetri LUT/"look" when creating proxies. That would be a great feature if it worked. Editing with proxies that already have a Rec709 or custom LUT applied would not only be more pleasant compared to staring at Log footage, but would also be a visual cue as to whether proxies are turned on. However, only a very small subset of the installed standard LUTs work...they appear to be legacy Speedgrade "looks". None of the other preinstalled LUTs nor any custom-installed 1D or 3D LUTs work. They don't even show up in the options. I had lengthy conversation with Adobe Support including screen sharing. They replicated it and later emailed me confirming it as a bug. That was three months ago. It appears the only workaround would be to create proxies outside of Premiere, name them properly, and re-connect them. Is that about right? Have you experienced this bug?
aah, i just got into making soft rn and tNice tutorials is so helpful and your voice is so sootNice tutorialng btw! thanks for tNice tutorials tutorial
Awesome tutorial. One question still though: I shoot alot of wedding films and am constantly switching between 4k/60,30fps and 1080/120,60,30fps. Is there a preset that will proxy all my footage down to 720p but auto-scale it in a 1080p sequence? I have the impression proxy is best done if all footage from a source is large and the same specs but with my mixed shooting settings I haven't found an easy way to streamline everything. I currently have all my content off the CFast cards and on a drive. Thanks!!
Hi Colin, Thanks for a great tutorial. Maybe you could answer some questions that I have. If I just trans-code to DNxHD to edit and I want to move the entire project to Resolve for grading, which export settings should I use, and then how to I get it back to Premiere. Does this apply the grading done in Resolve to Premiere? I'm on a PC running the latest version of Premiere.
I am not familiar with Resolve so I can't help. Sorry. I know lots of users stumble with a workflow between Premiere Pro and Resolve but there are no easy answers without rendering.
Very good video Colin. I'm just wondering what would be a good alternative to merge my proxies, since the Merge function doesn't work with Proxies. Thanks.
Hi! Very helpful video. But I have a question.... The proxy files playing same role whant I export the video and check use previous? For exporting more fast?
Hi Colin - Great video as usual! I am working on several multicam videos shot in 4K from my GH4. I edit on a PC. Playback is choppy with 1 video and very challenging with 4-6 camera angles. Which codec would you suggest for the edit? I have been transcoding to Cineform. Can the proxy be H.264? Advice on the best workflow and codecs would really be appreciated. Right now even with the proxies I have made I cannot select camera angles because the video will not stop playing fast enough. Time for a new computer? Thanks!!
Wonderful stuff! Question? If I have footage, 1080p and UHD 3840x and TRUE DCI/Cinema 4096x - Do I need to USE a different Proxy preset for each one, or will one Proxy Preset do? Thanks for your help.
Thank you for Video Revealed! I'm building my first PC for editing coming from Mac world. I love the portability of a small mini ITX build but that means that I would be stuck with Intel's 2 and 4 core processors. The one I am installing is a kaby lake 7700k. My question is will the 7700k 4 core be enough horse power to handle this 4k workflow as well as using 4k footage in after effects in a round trip? Thanks.
CPU isn't the only important part, it's RAM and disk speed too. I can't edit, and I mean really edit with many tracks, of 4k on my HP Z820 16-core 64GB RAM. Use Proxies instead.
VideoRevealed Yes I think if I was on set doing DIT work or in a post house I'd need to be able to edit high resolution 4k on the timeline to save time, but I do mostly indie stuff and local projects that pay but not as demanding. So I think a new 4 core should suffice for my needs and use proxies like you say. Thanks for the reply.
Thanks for sharing these videos. I've just started my own channel and your tips have really helped me to improve. Would you be able to share something about how you record your in computer pieces? I've been googling and there seem to be lots of options. Cheers
I record my screen using Camtasia. It's such a simple application to use and the output imports to Premiere Pro nicely. All the red outlines and zooms are all done in Camtasia and if you see a second screen appear in the top right when I'm showing my effects controls, that's also Camtasia. I will do a tutorial in the future. You can download a trial of the new version here: www.techsmith.com/camtasia.html
Hi Colin. Good vids as always. I'm a full time editor but have a general question that seems to be stumping me and my fellow friend editors. I'm looking at workflows sometimes that begin with proxies (of all shapes and sizes) and later get on-lined with the source RAW footage. Obviously starting with the RAW and making proxies from their is easy and streamlined in PP but the other way around presents a few questions; What if the proxies, for example, are 720p and the RAW is 4k? Do you recommend building all sequences in the 4k settings of the RAW so any nests, motion, etc should transfer over when on-lining RAW down the road? I suppose having 4k proxies is an easy fix for this but file sizes can get back to chunky which starts to defeat the purpose of proxies. Also, whats best way for on-lining RAW from proxies? Deactivate all proxies then reconnect with RAW? If I do that, I no longer am connected to proxies as proxies so would have to then connect proxies back to RAW as proxies. It's such an ass backwards, involved process, it seems like I'm not thinking about it correct. I hope this is understandable... hard to explain a complex thing like this!!
I'll break this into two workflows: 1: You're the finishing house. The Premiere Pro Proxy workflow works as expected by enabling and disabling Proxies in the Program monitor. Absolutely every instance of properly linked Proxies update automatically. That includes Motion settings, Nests, etc. You work as if the media is 4k and let Premiere Pro do the rest. When you're finished editing, enable Proxies and export. 2. You send it out to a finishing house. For that you receive Poxies, most likely ProRes LT, edit and provide the final Project, XML or EDL and they build it. Other than that, I'm not much help.
Cool tutorial. This makes a lot of sense if i want to use few h264 instead big prores 422 files. But what if my source is R3D or other raw footage with huge dynamic range and enormous color spaces? Doing this will not prevent you to use the R3D effect specific settings like change the iso, and other raw advanced stuff, color grading and everything else are not going to be completely off? It is just for mounting the sequences then you have to switch back completely to the original files? Best Regards
This is nice, however my question was more like: can I trust proxies in the case of such complex data like R3D or other raw files with huge color spaces and bit levels ? Let's say that you deal with something related to raw files.. eg: if you shift the ISO inside the R3D effect tab the preview that I see onscreen using h264 or cineform proxies is the same that I could get with the original files? Shouldn't the proxy file be still a R3D file of a smaller resolution (eg: full hd instead 8k) ? A bit like (let me pick a photography example rather than a video one) when you have the full resolution DNG let's say 20Mpixels of a digital camera and you create with some utilities a smaller DNG 5Mpixels file, that can be used to preview a complete workflow including RAW specific modifiations, that couldn't be possible using a TIFF file. Hope that my question was clear and sorry for my bad english ^^ Best Regards
Typically only original media would be used for finishing but if you disable proxies, you will get the full benefit of the R3D files. Disabling the proxies is identical to using the original media. You can work that way to finish your work but playback will be slow just like using the original media.
Hi Colin, great tutorial as usual. Quick question you’ve probably answered, couldn’t find it - I’m creating a 1080 timeline which uses 4K footage that will be panned/scanned and adding fake handheld shake, so I need the extra 4K real estate. Will I have access to proper “ scale to frame size” ability with the lower res proxy’s? Thanks for all the time you put into educating us all!
Thank you much for this - very helpful. Just so i have it correct -now i'm done and i want to export a final for broadcast - when I EXPORT from Premiere - using the proxies on my timeline - other than choosing my export settings ( Prores 4444 4096 2160 etc) the inference is Premiere will automaticly look to my original files, apply all the effects, Lumerti, dissolves etc and export AS IF i had been working with Originals all the time?
Yes, but all the effects, scale, motion settings apply the whole time you're editing, not just when you export. Just remember to turn off the Proxy button when you export.
Thank you for the quick answer. I had one other question, i was wondering for the render, after i color correct the proxy files. Do i click the toggle proxy button before rendering my project, will it have the same effects and color correction i put on the proxy files, on the original files? Thank you again! :)
Thank you for this tutorial, it's great! I'm using Premiere CC 2019, doing the proxies and I will synchronizing my clips/audio files with multicamera. Am I going to loose the proxies information by doing the multicamera? Cheers
@@VideoRevealed Thank you! I have an issue and I haven't found a solution anywhere, perhaps you may help? I have two days of filming, clips with camera audio and separately two channels mic audio files to synchronise with camera. I don't know if it's possible in Premiere Pro but I'm trying to create subclips from the synchronised clips and audio files with multicamera method. So I would open in timeline the multicamera file seeing all the clips and audios, then I would like to select the single clips and audio that I would like to keep and make a sub clip with it but it doesn't seem to be an option. Any advice about it?
Nice feature and realy nice tutorial! Just curious. Lets say, I have high-end PC. Is there any reason (except extra time for transforming video files) why I shouldn't use proxy?
Very cool. I've been avoiding proxies simply because I edit with hundreds of clips. Relinking them is always a pain, because they are labeled different. (The ones that are created in camera) I recently found a way to re name all clips. I was planning to name the proxies the same as the HQ clip, put them on a separate drive, then relinking that way. I haven't tried it yet though. I can see down errors happing as I may accidentally name a clip incorrect. Looks like after clip 9 the proxies and HQ don't match clip for clip. Because it goes 0001-0009 then 0010 to 1001 or something like that. Would you say what you taught us is a better workflow. I imagine it will take a long time to transcode though. I suppose I can do it the night before if I get that chance. This is Cc15 I'm guessing. Will it also do it in CC14 one of my machines is a bit older and is maxed out at CC14. (Mac BS ) But I do have 15 on my PC Great videos by the way always!!!
Thanks for this great tutorial. Thank you! I'm subbing. But is it possible to create proxies from clips already in my 4k timeline? I don't want to have to start from scratch and lose my markers and organization. Thanks again.
Thank you so much for this tutorial, I have a question, Once you import the files into the source panel it will create the proxy (if you have clicked the checkbox), but if you remove the file from the source panel, will premiere erase the proxy it has created?
The Proxy creation is happening in the background using Media Encoder and those files are saved to wherever you set to save them. If you imported them at the same time, then the link to the Proxy and the original is in that Project but if you delete the files from your computer, they will become unlinked in Premiere Pro.
Finally someone that talks in a clear and concise manner and not like so many other videos where they talk 100 miles/hour and you can't keep up. Thank you, great videos.
Thanks so much for your kind words.
Finally someone who really has an idea of what he's doing. In German tutorials there are almost only amateurs working. And even the professionals mostly explain very superficial. I appreciate the background informatio about what certain settings do or could do.
Well thank you so much.
honestly the best soft tutorial ive ever seen. short and straight to the point ! i love it
TNice tutorials is literally the best tutorial on TH-cam. It's right to the point, and very informative at the sa ti. Thank you so much
Instead of a Proxy Watermark, I create a preset using Timecode Overlay. When editing with proxies, you not only get your timecode right on your screen, it's also a visual indicator that you are currently viewing a proxy!
Great video Colin.
Jeff, that is an unbelievably helpful tip to add the timecode. I wish I had known that before I did the tutorial. Thanks.
hey Jeff B sounds good. Can you explain how you created a preset with timecode overlay??
In Media Encoder, in the Preset Settings panel, go to the Effects tab, scroll down to Timecode Overlay and select it. You can use timecode from your source or "generate" it (start at 00:00)
Jeff B thanks... i will try when i get home. quick question... this would have to be done before? because i already had a project set up and then i had manually created proxies for each clip and attached.. is there a way i can add the timecode afterwards?
You will have to recreate proxies with the timecode burned in. But you can then replace the old proxies in your project with your timecode proxies.
broken it down makes it seem so user-friendly and easy to use. I can’t wait to start making soft! Thanks again!
This video was so helpful! My proxy files where squashed vertically. I didn't know I had to create my own preset since 4096 x 1728 is not a very common resolution. Thank you so much for diving into encoding and ingest presets. You are SAVIOR!
Glad it helped!
Definitely one of the most helpful videos on your page that I've found
Awesome!
This tutorial was super helpful and I love your energy and way of explaining things - easy to understand but fast enough that I feel like I'm learning at an efficient speed, haha. Thanks so much!
Thanks Cameron, it's worth all the effort to hear that.
Great timing, I was just wondering about proxies earlier today when your video showed up in my feed :)
Thanks for all your tutorials, I'm finding them very helpful!
Great!
Really great tutorial. Well-paced, simple but to the point. Easy to work alongside, thank you!
Awesome, thanks for your kind words.
Only tutorial that worked. Thank you so much!
Your explanation is very clean and clear Thx
Glad it was helpful!
Colin, thank you very much for the tutorial, you're a very knowledgeable man, I wouldn't be able to do this by my own. There's other videos about proxies online but none of them explained how to deal with different ratios, thank you! I was working with 4.5k WS from Red
I'm thrilled that you found this useful.
TNice tutorials comnt from you is legendary. Uncomplicated like your video!!!
Thanks. What's tNice?
ahhhh Colin!!! i wish i just searched your channel for this information! hours looking for the exact way to make my own custom proxy preset
absolutely grateful for this video
You're very welcome.
Colin, your videos have been an amazing resource for me. You're an absolutely outstanding teacher. Thank you so much!
Thanks so much Scott. I really appreciate your support.
I really appreciate the time you take To Do this kind of tutorial it help me lot nobody can explain like the way you do question it is faster to work using proxies it is faster to render ?? Thank you
Thanks for your support. Proxies don't make rendering faster because your final export will be based on the original media, not the proxies. It's more about make the editing process faster.
thanks
Your videos have helped reach over $200,000 in stocks by age 23! Thanks In The setup. Keep the videos coming.
?
You 'da man as they say. Thanks for taking the time to make this information so clear!
My pleasure.
Excellent video. I really need this, and I didn't even discover Proxies until recently. Man, what a deal changer, when your edit jerks and skips, etc. I'm now shooting 4k drone footage, so this is the ticket. Thanks for a great explanation. Marc.
That's great to hear Marc. Good luck with your edits.
soone who does not get complex instructions like..At all, tNice tutorials was simple and clear for to understand. Thanks dude.
understand the basics of the software untill now. Your guide is very very good quite simple and very helpful. I gave you a like and a sub
really well explained man! thanks for using your time to make our life easier :) U got a new fan!
Yay, thanks for watching!
You are the bomb Colin. Your tutorials are the best. Thank you so much.
Thanks so much for your support.
As for me, everything is simple and clear. Thank you
eventually it all snapped into place and I started learning how to add all the effects, titles, motion text. It was pretty cool to see my
Great to hear.
Best tutorial ive evr seen bro ur d best!!!!!
I told you this before...you´re the best!
Wow, thanks so much!
So when it comes to exporting.... You just untoggle the proxy file and export as you normally would? Im guessing all the edits I made to proxies would be automatically transferred to the 4k files and that's what gets exported. Or is there something else I have to do?
Correct, turn off Proxies and export. That's all you need to do.
thanks Colin, I'm guessing if I forget to turn off Proxy and hit export, it's gonna export the edits on a small size proxy clip?@@VideoRevealed
Correct.
future! Great tutorial and wholeso community! Stay safe in these tis and keep your heads up! Do what you want that inspires you,
As always, another great tutorial. Thank you
You're welcome and thanks for your support.
TNice tutorials was super helpful, dude! I got the tutorial version of soft soft just to get a taste, and after figuring it out I decided to purchase the
TNice tutorialS WAS SOOOOOO HELPFUL!!
TNice tutorials guy's tutorial is more understanding than the others
This was one of my favorite features Adobe added to premiere! I use it all the time.
That's great and thank all the users who requested it from Adobe because that's who made it happen.
In the setup, appreciate the videos! Maybe a dumb question but is there a way to export content in mono in soft20?
Where is your full tutorial course on Premiere Pro? I like your style and want to buy. Need to start working with PP and 4K.
All my tutorials are on this channel, you just have to do some digging. Try this playlist: th-cam.com/play/PL6npGHFAQO7c3Jb5ajfXbnHG-HOBQAq2G.html
Great video and very helpful. However I am ready to export my final video and needs to be at the Hi-res, How do I handel the process of going from proxy back to hi-res for final render? Thanks for your time :)
All you need to do is disable the Proxy button, that's it. Now you're export will be original quality resolution.
Thank you so much again for a great tutorial! Solved my proxy problem!
That's great!
Another great one Colin, thanks.
Thanks.
Hi Colin, great video. Are there any videos on using proxies in a multi camera edit. Thanks
Honestly, I haven't tried it but you may run into problems or it might not work at all.
Colin, I will give this a try and let you know.
Ed Rakel Hello Ed any success in doing multi cam edit using proxies , I going to start a project but bit hesitant so wanted to check if anyone has tried it
Not yet but will let you know when I get around to it. thanks
Great, Attaching a logo to the proxy is very useful also. Thanks!
You're welcome.
TNice tutorials was very helpful thankyou.
wow thank you so much. no joke it is now so much easier and u explained it really good.
Thanks
You're welcome.
As usual Very helpful Colin! Thank you so much 😊
You're very welcome and thanks for your support.
excellent video, very clear and concise instructions! thank you so much :)
I'm glad you found it useful.
Hi Colin,
Nice tutorial. It's easy to follow even for me as a beginner in premiere.
I still have a question for you. I used a standard ingest preset in premier (1024 gopro cineform). The new proxy filesize became bigger than the original 1920 x 1080 50 frame clip. I presumed the new filesize would be smaller. Is this correct or should I do something else? Can you advice me?
Cineform is not a highly compressed format so if you're original is H.264 and you're not reducing the frame size, the Proxy will be larger. Try H.264 for a smaller frame size.
If your original media is HD H.264, then making Proxies isn't worth it. And if you can't playback HD H.264 smoothly, you need to lower the resolution from the dropdown menu in the Program Monitor.
Clear to me! I use avchd (mts files) Sony camcorder.
Thanxs!
TNice tutorials helped sooo much!
Bro thank you so much! I’ve had tNice tutorials software for like a year and was super intimidated by all the bars and windows. The way you’ve
What do I do when the channel rack becos too cluttered? If I can, how do I clear it?
I also really like softEX, it has a very nice effect to it
Hello. Thank you so much for all your tutorials!! I was just wondering if there is a work around to working with proxies with external audio. Is there a way to sync the proxies/master clips with out merging so that the proxy will still function on playback with the newly synced clip?
Thanks for your time!
Romina
Proxies do not work with any external audio. The audio has to be part of the original and the proxy clip to work.
+VideoRevealed I know. So there's no work around to this. Then what is the point of using proxies if most productions use external audio. I've also heard that if make proxies first and then merge the clips the proxies are still part of the merged clipped even though it is not seen in the proxy file column. Thanks again!
That's the current limitation to the Premiere Pro proxy workflow. It's still useful for many users who don't use secondary sound.
Great tutorial Colin. Any thoughts on proxy workflow and interpreted footage combined. I can't seem to get the clips in sync when I change 60p to say 24p as an example. The proxy stays at 60p.
Yeah, I think both proxy and original have to match frame rate.
HIS HELPED ME SO MUCH! THANK YOU!
I have just started using proxies, thanks for the tutorial. My 4k files are Log (Panasonic V-log) and I found a bug when creating and using the presets in PP/AME. In a nutshell, you are supposed to be able to create presets that include the application of a Lumetri LUT/"look" when creating proxies. That would be a great feature if it worked. Editing with proxies that already have a Rec709 or custom LUT applied would not only be more pleasant compared to staring at Log footage, but would also be a visual cue as to whether proxies are turned on. However, only a very small subset of the installed standard LUTs work...they appear to be legacy Speedgrade "looks". None of the other preinstalled LUTs nor any custom-installed 1D or 3D LUTs work. They don't even show up in the options. I had lengthy conversation with Adobe Support including screen sharing. They replicated it and later emailed me confirming it as a bug. That was three months ago. It appears the only workaround would be to create proxies outside of Premiere, name them properly, and re-connect them. Is that about right? Have you experienced this bug?
If you create an encoding Preset with the LUT/Look, then it will work. Have a look at this tutorial:
th-cam.com/video/n8ix7KZAlmQ/w-d-xo.html
Hey how to remove watermark from video in premiere pro or After Effects ?
There is no easy way to remove a watermark.
Hey man, It works great and without any problems.
aah, i just got into making soft rn and tNice tutorials is so helpful and your voice is so sootNice tutorialng btw! thanks for tNice tutorials tutorial
Awesome tutorial. One question still though:
I shoot alot of wedding films and am constantly switching between 4k/60,30fps and 1080/120,60,30fps. Is there a preset that will proxy all my footage down to 720p but auto-scale it in a 1080p sequence? I have the impression proxy is best done if all footage from a source is large and the same specs but with my mixed shooting settings I haven't found an easy way to streamline everything. I currently have all my content off the CFast cards and on a drive. Thanks!!
I think you'll need to make one proxy preset for 4k and another for HD.
Hi Colin, Thanks for a great tutorial. Maybe you could answer some questions that I have. If I just trans-code to DNxHD to edit and I want to move the entire project to Resolve for grading, which export settings should I use, and then how to I get it back to Premiere. Does this apply the grading done in Resolve to Premiere? I'm on a PC running the latest version of Premiere.
I am not familiar with Resolve so I can't help. Sorry.
I know lots of users stumble with a workflow between Premiere Pro and Resolve but there are no easy answers without rendering.
Very good video Colin. I'm just wondering what would be a good alternative to merge my proxies, since the Merge function doesn't work with Proxies. Thanks.
I don't know what options you have as the Proxy workflow is not something you can change.
HELP! When i put a sample into the daw, the sample slides instead of moving in steps, how can i get the sample to move in steps?
TNice tutorials is so fun editing in it I just saw half of your tutorial and couldn't stop PLAYING WITH ITT dont worry I ca bac k after it
softs it was really confusing but thanks to you I've gotten more professional at it!! ✌
Hi! Very helpful video.
But I have a question.... The proxy files playing same role whant I export the video and check use previous? For exporting more fast?
Proxies will not make exporting any quicker.
I was importing the midi files from my PC, after importing the midi file, the midi file only runs on the default tempo.
Hi Colin - Great video as usual! I am working on several multicam videos shot in 4K from my GH4. I edit on a PC. Playback is choppy with 1 video and very challenging with 4-6 camera angles. Which codec would you suggest for the edit? I have been transcoding to Cineform. Can the proxy be H.264? Advice on the best workflow and codecs would really be appreciated. Right now even with the proxies I have made I cannot select camera angles because the video will not stop playing fast enough. Time for a new computer? Thanks!!
Yes, I'd suggest transcoding to H.264 for proxies.
Very helpful Video as always .
This video saved my life... Thank you.
(Was multi-caming a wedding and couldn't for the life of me find out how to fix the third choppy camera)
That's great to hear.
really good tutorial, but really simply and accurate.
Thank you.
Wonderful stuff! Question?
If I have footage, 1080p and UHD 3840x and TRUE DCI/Cinema 4096x - Do I need to USE a different Proxy preset for each one, or will one Proxy Preset do? Thanks for your help.
You should use a different proxy for each to keep the scale and aspect ratios correct.
TNice tutorials man did a really good job of explaining ever tNice tutorialng ever one else don't really go into detail
Thank you for Video Revealed! I'm building my first PC for editing coming from Mac world. I love the portability of a small mini ITX build but that means that I would be stuck with Intel's 2 and 4 core processors. The one I am installing is a kaby lake 7700k. My question is will the 7700k 4 core be enough horse power to handle this 4k workflow as well as using 4k footage in after effects in a round trip? Thanks.
CPU isn't the only important part, it's RAM and disk speed too. I can't edit, and I mean really edit with many tracks, of 4k on my HP Z820 16-core 64GB RAM. Use Proxies instead.
VideoRevealed Yes I think if I was on set doing DIT work or in a post house I'd need to be able to edit high resolution 4k on the timeline to save time, but I do mostly indie stuff and local projects that pay but not as demanding. So I think a new 4 core should suffice for my needs and use proxies like you say. Thanks for the reply.
So will the file render in 4k? So when you go to render will that project render out the 4k video?
Yes, as long as you turn off the Proxy button.
is there a way to import a you already have into soft soft?
awesome video, this is what i'm looking for. thanks for uploading sir.
My pleasure.
it's also a little inefficient in a way if you want to just draw a 4 on the softoor kick soft and theres all those empty sequencers on the
TNice tutorials tutorial is so good, tysm
Sweet tutorial fam !
Thanks for sharing these videos. I've just started my own channel and your tips have really helped me to improve.
Would you be able to share something about how you record your in computer pieces? I've been googling and there seem to be lots of options.
Cheers
I record my screen using Camtasia. It's such a simple application to use and the output imports to Premiere Pro nicely. All the red outlines and zooms are all done in Camtasia and if you see a second screen appear in the top right when I'm showing my effects controls, that's also Camtasia. I will do a tutorial in the future. You can download a trial of the new version here:
www.techsmith.com/camtasia.html
Thanks very much for the reply - I will take a look.
informative video good sir, Gracias
Hi Colin. Good vids as always. I'm a full time editor but have a general question that seems to be stumping me and my fellow friend editors. I'm looking at workflows sometimes that begin with proxies (of all shapes and sizes) and later get on-lined with the source RAW footage. Obviously starting with the RAW and making proxies from their is easy and streamlined in PP but the other way around presents a few questions;
What if the proxies, for example, are 720p and the RAW is 4k? Do you recommend building all sequences in the 4k settings of the RAW so any nests, motion, etc should transfer over when on-lining RAW down the road? I suppose having 4k proxies is an easy fix for this but file sizes can get back to chunky which starts to defeat the purpose of proxies.
Also, whats best way for on-lining RAW from proxies? Deactivate all proxies then reconnect with RAW? If I do that, I no longer am connected to proxies as proxies so would have to then connect proxies back to RAW as proxies. It's such an ass backwards, involved process, it seems like I'm not thinking about it correct.
I hope this is understandable... hard to explain a complex thing like this!!
I'll break this into two workflows:
1: You're the finishing house.
The Premiere Pro Proxy workflow works as expected by enabling and disabling Proxies in the Program monitor. Absolutely every instance of properly linked Proxies update automatically. That includes Motion settings, Nests, etc. You work as if the media is 4k and let Premiere Pro do the rest. When you're finished editing, enable Proxies and export.
2. You send it out to a finishing house.
For that you receive Poxies, most likely ProRes LT, edit and provide the final Project, XML or EDL and they build it.
Other than that, I'm not much help.
ikr too. i clicked on sotNice tutorialng and now i cant find any tracks and everytNice tutorialng is blank idk what to do
YOU ARE A GOD... NO QUESTION ABOUT IT
decided to try it out.
Cool tutorial. This makes a lot of sense if i want to use few h264 instead big prores 422 files. But what if my source is R3D or other raw footage with huge dynamic range and enormous color spaces? Doing this will not prevent you to use the R3D effect specific settings like change the iso, and other raw advanced stuff, color grading and everything else are not going to be completely off? It is just for mounting the sequences then you have to switch back completely to the original files? Best Regards
Any changes you make to the R3D is saved as in the RMD Metadata file so that link will stay intact when using proxies.
This is nice, however my question was more like: can I trust proxies in the case of such complex data like R3D or other raw files with huge color spaces and bit levels ?
Let's say that you deal with something related to raw files.. eg: if you shift the ISO inside the R3D effect tab the preview that I see onscreen using h264 or cineform proxies is the same that I could get with the original files?
Shouldn't the proxy file be still a R3D file of a smaller resolution (eg: full hd instead 8k) ?
A bit like (let me pick a photography example rather than a video one) when you have the full resolution DNG let's say 20Mpixels of a digital camera and you create with some utilities a smaller DNG 5Mpixels file, that can be used to preview a complete workflow including RAW specific modifiations, that couldn't be possible using a TIFF file.
Hope that my question was clear and sorry for my bad english ^^
Best Regards
Typically only original media would be used for finishing but if you disable proxies, you will get the full benefit of the R3D files. Disabling the proxies is identical to using the original media. You can work that way to finish your work but playback will be slow just like using the original media.
Thanks for the reply ! I understood now :)
Great video, great information. Thank you.
You're welcome.
Hi Colin, great tutorial as usual. Quick question you’ve probably answered, couldn’t find it - I’m creating a 1080 timeline which uses 4K footage that will be panned/scanned and adding fake handheld shake, so I need the extra 4K real estate. Will I have access to proper “ scale to frame size” ability with the lower res proxy’s? Thanks for all the time you put into educating us all!
I think this tutorial will help:
th-cam.com/video/MHd-FDYvPRY/w-d-xo.html
Thank you much for this - very helpful. Just so i have it correct -now i'm done and i want to export a final for broadcast - when I EXPORT from Premiere - using the proxies on my timeline - other than choosing my export settings ( Prores 4444 4096 2160 etc) the inference is Premiere will automaticly look to my original files, apply all the effects, Lumerti, dissolves etc and export AS IF i had been working with Originals all the time?
Yes, but all the effects, scale, motion settings apply the whole time you're editing, not just when you export. Just remember to turn off the Proxy button when you export.
once i buy the basic version of soft soft can i upgrade to producer for 100 dollars or do i have to buy it new for 0?
Hey great video, is this option only available in adobe premiere cc?? Thank you :)
Correct, it's only in the the latest version of CC.
Thank you for the quick answer. I had one other question, i was wondering for the render, after i color correct the proxy files. Do i click the toggle proxy button before rendering my project, will it have the same effects and color correction i put on the proxy files, on the original files? Thank you again! :)
Yes, toggle the Proxy button before rendering and all the attributes applied to proxies will be applied to the originals.
Why does the GMS tNice tutorialng doesn't soft sa way like it did in the video?
great tutorial. thanks a bunch!
You're welcome.
Thank you for this tutorial, it's great! I'm using Premiere CC 2019, doing the proxies and I will synchronizing my clips/audio files with multicamera. Am I going to loose the proxies information by doing the multicamera? Cheers
Proxies do work within a Multicam workflow. Here's a tutorial for you!
th-cam.com/video/MHd-FDYvPRY/w-d-xo.html
@@VideoRevealed Thank you!
I have an issue and I haven't found a solution anywhere, perhaps you may help? I have two days of filming, clips with camera audio and separately two channels mic audio files to synchronise with camera.
I don't know if it's possible in Premiere Pro but I'm trying to create subclips from the synchronised clips and audio files with multicamera method.
So I would open in timeline the multicamera file seeing all the clips and audios, then I would like to select the single clips and audio that I would like to keep and make a sub clip with it but it doesn't seem to be an option. Any advice about it?
Subclips can only be created from a single clip, not a combination of different audio/video clips.
Nice feature and realy nice tutorial!
Just curious. Lets say, I have high-end PC. Is there any reason (except extra time for transforming video files) why I shouldn't use proxy?
It's better to think about it the other way, only use proxies if your computer can't handle the current file format in real time.
Very cool. I've been avoiding proxies simply because I edit with hundreds of clips. Relinking them is always a pain, because they are labeled different. (The ones that are created in camera)
I recently found a way to re name all clips. I was planning to name the proxies the same as the HQ clip, put them on a separate drive, then relinking that way. I haven't tried it yet though. I can see down errors happing as I may accidentally name a clip incorrect. Looks like after clip 9 the proxies and HQ don't match clip for clip. Because it goes 0001-0009 then 0010 to 1001 or something like that.
Would you say what you taught us is a better workflow. I imagine it will take a long time to transcode though. I suppose I can do it the night before if I get that chance. This is Cc15 I'm guessing.
Will it also do it in CC14 one of my machines is a bit older and is maxed out at CC14. (Mac BS )
But I do have 15 on my PC
Great videos by the way always!!!
This is a much better workflow and you do need the latest version.
Thanks for this great tutorial. Thank you! I'm subbing. But is it possible to create proxies from clips already in my 4k timeline? I don't want to have to start from scratch and lose my markers and organization. Thanks again.
Yes, but it's a manual process with Right-clicking on each 4k clip in the Project panel and creating proxies. That will make them and link them.
Thank you so much for this tutorial, I have a question, Once you import the files into the source panel it will create the proxy (if you have clicked the checkbox), but if you remove the file from the source panel, will premiere erase the proxy it has created?
The Proxy creation is happening in the background using Media Encoder and those files are saved to wherever you set to save them. If you imported them at the same time, then the link to the Proxy and the original is in that Project but if you delete the files from your computer, they will become unlinked in Premiere Pro.