Hey, i was looking for a video that would help me in learning how to work around with proxies and i came across this video which was really helpful andi clicked on your channel to watch the part two and i see you have made a lot of videos on DaVinci Resolve, which are very informative. And coincedentally i was planning to learn DaVinci, this is gonna be very useful and i immediately subcribed to your channel and i genuinely respect people like you, who would help educating other people for free. Genuinely, thank you from the bottom of my heart for helping out others.
This is one of the most useful videos I've watched in a while. Thank you so much for your excellent tut. I've shared it on an Adobe forum in which I was complaining about poor performance of my new laptop.
It's totally possible to create this although honestly not sure if it's the way I'd choose to do it. Would you like to see a video on this method and the pros and cons related to it? Out of interest, why would you like an ingest preset that changes the aspect ratio of your footage? What purpose does that serve in your workflow? Genuinely interested not in anyway criticising. 👍🏻
Very straight tutorial, thanks. For some reason my image overlay isn't visible on the resulting proxy video files. Any idea why? I made a transparent PNG so it should be working?
You're welcome. Thanks for watching. I had the same issue after making my own overlay. It worked or a while but then stopped working. I went back to using the stock Adobe Overlay PNG and things are working fine again. Here's the link to the stock Adobe png: Download Watermark PNG Also, someone mentioned on a forum that people were selecting the path rather than the actual proxy itself when setting up their encode and ingest presets. If I can i'll dig out the forum link for you. Hope that helps.
Is there a formula when changing between frame rates. I.e. does the frame rate of the original need to be a multiple of the frame rate you use in the Proxy? (i.e. if your original has a fps of 92, can you use a frame rate of 25 in the proxy, or would it need to be 46 or 23)?
Thank you for your comment. So it used to be that we had to create a secondary preset for the different frame rates. So typically we'd have one for work at 25fps and another for footage shot at 100fps. However, you can now just use the option to auto assume a frame rate based on source whilst setting up the preset. This way you can ensure all of benefits of higher frame rate content remain in your proxies for editing. Does that answer your question?
amazing... everything in your video is amazing. the voice, the steps, the explanation, the neatness!! very very happy to have found this channel. keep it up
Enjoying the video so far. Would be good if you included Windos suggestions whenever you mention an option exclusively for Apple. But likeing your style dude
Thanks Patrick. Really appreciate your thoughts and I'll certainly bare that in mind. Don't necessarily have access to a Windows machine but will definitely make the effort to make the differences clear, if there are any, between the two systems. As Premiere is a multi platform machine and, for the most part, functions the same on both, hopefully it shouldn't be too hard for people to follow along. Out of interest, what specific to Apple options did you see and can I address those for you here? Cheers
You’re amazing! I can’t believe how much I learned from tNice tutorials video. My softs just got 10 tis better after watcNice tutorialng tNice tutorials!
Question: If I had done my Project in After Effects and I choose to Render the final video under Adobe Media Encoder 2017 by hitting 'Queue'; Will the applied Effects from AE be taken into effect for my final render? Also, Does that also work for 3rd party plugins that were applied to footage too? Thanks.
a question, did u change the frame of both (width & height) based on the frames of your video that u choosing , for example if i have a video about (4096 x 2160)fps while creating a proxy, should i change the frame of both (width & height ) exactly as my video frame (4096 x 2160) fps ? looking forward to your answer :) :)
Sorry I took a while to reply. Normally I just set my proxy frame resolution to be a size that is easy for my machine to handle but that is exactly the same ratio as my original footage and that ideally doesn't;t need much scaling. In my case I shoot a lot in UHD (so 3840x2160) which is 16:9 and exactly 50% more than 1920x1080 so it still looks pretty good to work with and doesn't;t require a lot of scaling. I try to match frame rate too - so I make up presets for 25fps footage and 100fps footage and encode them separately. Premiere handles the scaling really well generally so even if your timeline is UHD but your proxies are 720p then you'll see no major difference when toggling them on and off. The great thing is that if you leave the proxies toggled on Premiere will still use your high resolution footage to render out from! Does that help?
Depiqd - Film and Video Production when I do this with UHD or 4K footage, do I need to downscale my timeline size? Or can I still edit on a 3840x2160 timeline? I only ask because in your next video you changed it to 1080p
You're welcome Michael! Thanks for stopping by. The second part of this tutorial - How to use these presets effectively in Premiere Pro is coming shortly so do stay tuned for that.
zachcolt Hi, thanks for your question. I’d personally look at DNxHD as the codec for Windows. I don’t believe that Windows supports ProRes as this is a QuickTime format. Being Mac based I’ve never really tried it properly to be honest but I know that DNxHD is the ProRes of Windows so hope that helps.
Love your video, which is extremely useful. I am interested in working with proxies and want to know what is the difference between encoding preset and ingest preset. I understand what the ingest preset is for but not the encoding preset. Thanks. Great Job!!!
Sure guys. To clarify, the encoding preset is the actual preset that will take your footage from one format to another - so H264 to ProRes for example. The ingest preset is for Premiere to apply an action as you bring footage into a project - add media to your bins. Part of an ingest preset might be an encoding action where you can then select an encoding preset to perform that action. For example, the ingest preset might be to copy files from one location to another but not necessarily encode them to a different format or it might be move them and encode them or possibly, just encode them to a different format but change nothing else. The ingest preset and feature within Premiere is useful as it's designed so that it get's on with this task in the background without you having to think of it or getting in the way of your proceeding with your edit. Let me know if that helps or not. Cheers!
What codecs/formats should i use if im on windows, and all i want is a smooth playback experience? i don't care about the color, bitrate, or whatever all the jargon is. i just want proxies that are fast to make, and good for smooth editing? I don't understand all this stuff. so far I've just been using QuickTime GoPro Cineform on the lowest quality settings. note: must support multiple stereo audio tracks.
Sadly I’m not a Windows user so can’t comment from experience but I’m reliably informed that DNxHD is a ProRes equivalent for a Windows platform. Might be worth a try. If your machine struggles playing back 4K UHD then try HD and if it struggles in HD then try 720p. There’s a bit of trial and error involved to find what works best for your system as each workstation can be so differently spec’d. Also consider your hardware and make sure you have drives that are fast (ideally a RAID setup) and connected via a modern interface like Thunderbolt or USB3.
You’re very welcome. Make sure to check out the latest video we put together showing what to do with those presets in Premiere Pro so you can take advantage of the Proxy Workflow when editing high resolution media.
Really great video. So good, I've watched it about 6 times so far! I had become really confused with the whole proxy/ingest/encoding settings, to work with what I'm trying to achieve right now. So, where do I start .... Basically, I am travelling to various destinations right now, filming different people in different offices, all under the same project. I am trying to transfer the footage recorded (4K), after each session, from my SD card to my LaCie portable drive, but create proxies on my internal drive, so I can edit on the fly, without connecting my LaCie. I really like the verification option offered, as I do not have any backups of this footage, hence want to use Adobe Media Encoder. The destination on the LaCie drive needs to be different on each transfer (i.e. a folder with the persons name). The Proxy's can all be together in the same local drive, but I'd like to rename them with "_username_Proxy" at the end. Essentially, I'm trying to create a base INGEST/ENCODE preset, that I can modify on each bulk import. Did that make sense!? Sorry, but I'm almost there in understanding this process, but still a bit lost on the last leg!
Sorry for the slow reply. So I think what you are trying to do will work. Are you creating the proxies from within Premiere Pro once you've created your Inget and Encoding Presets? If you do then the folder that gets created can be saved at a location of your choosing (or just save it next to the originals and then manually move the folder and relink the proxies when they go offline). Also, the files automatically get renamed to be the same as the original source file but with "_proxy" on the end of the filename. If you're looking to just use the Encoding preset in AME rather than going through Premiere Pro then you can create a folder and have all of the files encode to that folder. Then using a batch renaming service like Bridge CC you can rename the files to have the same filename with the "_proxy" afterward and then reference back to those files because within Premiere Pro you can relink proxies that have gone offline. Obviously, if you aren't using Premiere then let me know.
@@AlexCameron-Depiqd Hi Alex, well there's no need to apologise for a late reply, as I now beat you with my reply after 2 years!! (For whatever reason, I never knew about your reply - must be my notification settings, anyway...). I've come back to watch this fantastic video again, as although I've created proxy's many times over the last few years, I've just shot a load of footage at 50fps 4k, with the plan to interpret it at 23.976 in Premiere, for a slower motion look. I'm providing a library of assets to a client to be used over the next year for social media/promotion. So first question, as I know I will be doing that with all the footage, should I make/name the Encode preset to read the 50fps source files during transferring from SD card to hard drive, and then instruct Premiere to 'interpret media to 23.976' or to the 'interpret' part first, and then create proxy from Premiere (via Encoder) with a preset that reads the footage as 23.976fps? Wow, I still find this confusing! (If you do personal tutoring, I'd be willing to find/pay for 30 mins or so!)
Hey! hopefully you could help out. I am using a Sony a7sii shooting 1080p 60fps. Second camera is an old Sony XDR-XR100 camcorder. To save the files from the camcorder, I open up one singular AVCHD files, I have to open every single video file into quicktime, individual save it and then work with it from there. I want to be able to hook up the camcorder to my computer, and use media encoder or some other way to move all the video files I want into my timeline. Any tips on using media encoder to ingest this footage?
Hey thanks for your question Stavro. It's been a while since I did any work with a camcorder to be honest and even then not that familiar with the AVCHD format. That said, if it's similar to the issue experienced with the Canon C100 and the AVCHD file that that camera produces then I used to use a program called ClipWrap to essentially 'unpack' the video files into new ProRes MOV files that I could then ingest straight into the NLE and work with. Not sure if that helps but I hope so.
Hey, thanks a lot for the video, I've got a question though, maybe you or someone else could help. I want to make proxies for Arri Raw footage (I'll edit in Davinci Resolve). So the problem is, I have a huge amount of clips to go through, but I don't seem to be able to import the whole bunch in one go into Media Encoder. I don't know exactly how the codec works, but Arri Raw has folders that contain a huge amount of clip snippets, that then need to be "merged" into one clip. So whenever I drag and drop it into the Media encoder, the encoder imports every single clip but doesn't merge it. If I go through the Media-Browser I can double click every folder and then drag the clip over into the queue (without all the single clips). Problem is: it takes time to drag and drop several hundred clips like that into the encoder. Does anyone know how I could do it faster? Thanks a lot in advance!
You're so welcome. It's a good question...I haven't worked with Arri Raw Footage before to be honest, however, if it's anything like CDNG or RED R3d files I know what you mean about how the clips get broken up into different sections/folders etc. I'm honestly not sure what the solution would be in AME as I can't test a solution out for you. That said, why not take the footage into Resolve (as you'll be editing there anyway) and either use the Optimised Media option to create you some lighter versions of the clips to edit with OR use the Media Management function in Resolve to transcode the footage into proxies that you can then conform to. Can't see why that wouldn't work for you and I've used it before to create ProResLT clips at 720p from Master R3D files for an editor that I had to send the clips to remotely. Let me know if that helps - If need be I'd be happy to do a video to show you the media management in Resolve.
@@AlexCameron-Depiqd Thanks a lot for your answer. In the end I did use DaVinci to make the proxies - to be honest I haven't even thought of that option because I was so fixed on the idea that I had to use the encoder. But it worked great with Resolve. :))
Hi, amazing video! I just can't make ingest presets that work on my workflow.... How could i make Apple pro res for 59.96 fps ? and mixe them with 23.976? i've been having a big headache tryin to achieve this! could you help me? thanx =]
If I understand you correctly Emiliano, you need a preset that will work for both 59.96 fps footage and also 23.976 fps footage. Is that right? If so then sadly it's a case of making two separate presets - one for the 59.96 footage and another for the 23.976 footage. I have the same with 25fps and 100fps (based in the UK). It would be great if we could use the 'Match Source' option for FPS but I have found that this doesn't work as expected yet and that Adobe may well address this in future versions of the software. Of course if it worked then essentially you could just throw all your mixed frame rate footage in there and have AME work our if it should be 59.96 or 23.976 whilst it transcodes to your codec of choice. Until then sadly just create two presets, one for each and encode all your frames rates in different batches.
99/00 was sotNice tutorialng called Vision DSP or DST or sotNice tutorialng and didn't quite work the way soft soft does, but tNice tutorials video helped so
This video was really helpful.. but.. the image overlay, which I thought was a good idea at first, meant I had to create a whole new preset without it and start again.. basically, if you're using warp stabiliser the added watermark will mess up the warp stabiliser process, which is pretty intensive, something you don't want to be doing with long 4K footage! Other than this, great video
Thanks for your input John. In honesty, I've not experienced this issue myself. Sorry if that caused you some additional workflow time. A good note to bear in mind for others then is that they may want to create a preset with and without overlay. As mentioned, I haven't experienced that myself yet but if I do then I'll certainly bear your comment in mind. Can I ask, when you say "mess up the warp stabiliser process" what kind of issue are you seeing? For example, is it just that the WS process doesn't provide as good, if at all, stabilisation with the overlay there? You could try toggling of the proxies and applying WS to the original and then toggling back on after that. Not something I've tried yet but would be interesting to know if that solves the problem perhaps. Thanks again for watching and commenting.
+Depiqd - Film and Video Production What I experienced was that warp stabiliser treats the overlay as a stationary object but tries to warp everything else which gives you loads of distortion.
I agree that toggling the proxies off, applying WS and then toggling proxies back on defeats the purpose of the proxies and I know too well how intensive WS can be. Just trying to offer some potential ways to work around the issue. Not even sure that method would work without testing it but as I say I haven't experienced the same issue myself. I'll do some testing when I get a moment and see if there's a work around. Appreciate you've sorted it now but if I can help then I will do my best! Cheers
Thanks found it very helpful , just find Adobe proxy method way to cumbersome long winded, compared to Black Magic Da Vinci Resolve 16 or Grass Valley Edius Pro 8.
You’re welcome. Thanks for your feedback. Glad you found it helpful. I agree the Adobe method is longer winded than those other platform you mention. The one thing I DO like about it though is that it does this in the background. If DaVinci optimisation could happen in the background it would be awesome!
Sorry it’s taken me ages to answer this! I would imagine not as were using ProRes which is a QuickTime format. On a PC I’d recommend using one of the DNxHD flavours. Hope that helps (sure you’ve found the answer already). Did you get it sorted?
any of them even if they all are bit similar. But I can tell few tNice tutorialngs changed and also I forgot almost everytNice tutorialng so I guess Im gonna start
My only critique is that you forget about us PC people. And we are our there lurking! LOL Anyway if you could give a little more info for us that would be great. Or also us H.264 people. As that gives options we do not completely understand and would be great to have them explained. Thanks!
Finally a video where i can see the guys mouse, he says words clearly and actually SHOWS how to open stuf like the soft roll instead of
Hey, i was looking for a video that would help me in learning how to work around with proxies and i came across this video which was really helpful andi clicked on your channel to watch the part two and i see you have made a lot of videos on DaVinci Resolve, which are very informative. And coincedentally i was planning to learn DaVinci, this is gonna be very useful and i immediately subcribed to your channel and i genuinely respect people like you, who would help educating other people for free. Genuinely, thank you from the bottom of my heart for helping out others.
It really worked for me after I look and try some tutorials, yours is the one that worked. Owe you a lot.
these presets works on Adobe Premiere Pro>Project Manager>Consolidate and Transcode> Import Preset?
thank you for the very simplistic explanation of how tNice tutorialngs work. tNice tutorials is the best explanation I have co across on you tube.
This is one of the most useful videos I've watched in a while. Thank you so much for your excellent tut. I've shared it on an Adobe forum in which I was complaining about poor performance of my new laptop.
Thank you so much for your kind comments! Glad that it's helped!
YEP🙏🙏
Thank you for this! Super cool video! A+++
Ima download it thanks for sharing!!
Yesssss, thats what i was looking for. hanks for helping
How do you make an ingest setting for windscreen like 2:35 or 1:85 video files?
It's totally possible to create this although honestly not sure if it's the way I'd choose to do it. Would you like to see a video on this method and the pros and cons related to it? Out of interest, why would you like an ingest preset that changes the aspect ratio of your footage? What purpose does that serve in your workflow? Genuinely interested not in anyway criticising. 👍🏻
nice
Thank you!
I am coming from soft one 4.6 and I am so torn with soft soft. It seems great as it is so in-depth in its' capabilities but, so fiddly to get
it's finally ti. i'm ready to learn.
screen in the top left, look at where it says program and click on where it says “aggressive te” and change it to “analog app 1 te”
I did a right click and drag on the soft roll, now if I click Play the position clock starts but my ti cursor does not move and I cant
learned so much just now your a rock star!
hanks lot Sir.. You helping us..
YOU ARE A GOOD HUMAN BEING
What a fantastic tutorial - thank you so much!
In GMS screen select appes and then select Analog app 1 TE. That worked out for .
I am getting back into production after so ti and tNice tutorials makes it so easy to understand. Thank you so much for making these videos.
great detail mate! super helpful
Very straight tutorial, thanks. For some reason my image overlay isn't visible on the resulting proxy video files. Any idea why? I made a transparent PNG so it should be working?
You're welcome. Thanks for watching. I had the same issue after making my own overlay. It worked or a while but then stopped working. I went back to using the stock Adobe Overlay PNG and things are working fine again. Here's the link to the stock Adobe png: Download Watermark PNG Also, someone mentioned on a forum that people were selecting the path rather than the actual proxy itself when setting up their encode and ingest presets. If I can i'll dig out the forum link for you. Hope that helps.
ITS REALLY WORKED LOL THANK YOU DUDE
Is there a formula when changing between frame rates. I.e. does the frame rate of the original need to be a multiple of the frame rate you use in the Proxy? (i.e. if your original has a fps of 92, can you use a frame rate of 25 in the proxy, or would it need to be 46 or 23)?
Thank you for your comment. So it used to be that we had to create a secondary preset for the different frame rates. So typically we'd have one for work at 25fps and another for footage shot at 100fps. However, you can now just use the option to auto assume a frame rate based on source whilst setting up the preset. This way you can ensure all of benefits of higher frame rate content remain in your proxies for editing. Does that answer your question?
amazing... everything in your video is amazing. the voice, the steps, the explanation, the neatness!! very very happy to have found this channel. keep it up
Thank you so much! Really really appreciate you taking the time to respond! I promise there’s more content coming soon. Stay tuned!
How can I create ingest preset in 2015 version. Because it has only encoding preset option
makes complete sense. Only a couple other tNice tutorialngs I need to find out before I can actually make it work, but you’ve got more in depth
Enjoying the video so far. Would be good if you included Windos suggestions whenever you mention an option exclusively for Apple. But likeing your style dude
Thanks Patrick. Really appreciate your thoughts and I'll certainly bare that in mind. Don't necessarily have access to a Windows machine but will definitely make the effort to make the differences clear, if there are any, between the two systems. As Premiere is a multi platform machine and, for the most part, functions the same on both, hopefully it shouldn't be too hard for people to follow along. Out of interest, what specific to Apple options did you see and can I address those for you here? Cheers
Awesome!! Loved it. Thank you!!
Is there a way to do it on Microsoft Paint??
You’re amazing! I can’t believe how much I learned from tNice tutorials video. My softs just got 10 tis better after watcNice tutorialng tNice tutorials!
Nice tutorial, i just cracked soft soft ;)
Question: If I had done my Project in After Effects and I choose to Render the final video under Adobe Media Encoder 2017 by hitting 'Queue'; Will the applied Effects from AE be taken into effect for my final render? Also, Does that also work for 3rd party plugins that were applied to footage too?
Thanks.
a question, did u change the frame of both (width & height) based on the frames of your video that u choosing , for example if i have a video about (4096 x 2160)fps while creating a proxy, should i change the frame of both (width & height ) exactly as my video frame (4096 x 2160) fps ?
looking forward to your answer :) :)
Sorry I took a while to reply. Normally I just set my proxy frame resolution to be a size that is easy for my machine to handle but that is exactly the same ratio as my original footage and that ideally doesn't;t need much scaling. In my case I shoot a lot in UHD (so 3840x2160) which is 16:9 and exactly 50% more than 1920x1080 so it still looks pretty good to work with and doesn't;t require a lot of scaling. I try to match frame rate too - so I make up presets for 25fps footage and 100fps footage and encode them separately. Premiere handles the scaling really well generally so even if your timeline is UHD but your proxies are 720p then you'll see no major difference when toggling them on and off. The great thing is that if you leave the proxies toggled on Premiere will still use your high resolution footage to render out from! Does that help?
thank u so much :)
Depiqd - Film and Video Production when I do this with UHD or 4K footage, do I need to downscale my timeline size? Or can I still edit on a 3840x2160 timeline? I only ask because in your next video you changed it to 1080p
thank u soo much it helped a lot
whenever i start playing softs or tracks its mute
Thank you! This is every helpful; very clear and direct.
You're welcome Michael! Thanks for stopping by. The second part of this tutorial - How to use these presets effectively in Premiere Pro is coming shortly so do stay tuned for that.
excellent tutorial. thanks a million.
You’re very welcome Michael!!
In soft One, there is relatively little although I will say soft One has so fantastic features and I tNice tutorialnk it is going places (Rated No 2
thank you so much dude you're a god
would you choose apple prores 442 on a windows operating system as well, or does that change?
zachcolt Hi, thanks for your question. I’d personally look at DNxHD as the codec for Windows. I don’t believe that Windows supports ProRes as this is a QuickTime format. Being Mac based I’ve never really tried it properly to be honest but I know that DNxHD is the ProRes of Windows so hope that helps.
Alright cool I might as well throw a couple of clips in there and give both a try and see what they do. Thanks.
It does now
Love your video, which is extremely useful. I am interested in working with proxies and want to know what is the difference between encoding preset and ingest preset. I understand what the ingest preset is for but not the encoding preset. Thanks. Great Job!!!
Just figured it out!
Can you tell me the difference?
Sure guys. To clarify, the encoding preset is the actual preset that will take your footage from one format to another - so H264 to ProRes for example. The ingest preset is for Premiere to apply an action as you bring footage into a project - add media to your bins. Part of an ingest preset might be an encoding action where you can then select an encoding preset to perform that action. For example, the ingest preset might be to copy files from one location to another but not necessarily encode them to a different format or it might be move them and encode them or possibly, just encode them to a different format but change nothing else. The ingest preset and feature within Premiere is useful as it's designed so that it get's on with this task in the background without you having to think of it or getting in the way of your proceeding with your edit. Let me know if that helps or not. Cheers!
Encoding preset I created is not showing up as a selection for my ingest preset. Please explain how to correct this, I'm losing my mind here.
What codecs/formats should i use if im on windows, and all i want is a smooth playback experience? i don't care about the color, bitrate, or whatever all the jargon is. i just want proxies that are fast to make, and good for smooth editing?
I don't understand all this stuff. so far I've just been using QuickTime GoPro Cineform on the lowest quality settings.
note: must support multiple stereo audio tracks.
Sadly I’m not a Windows user so can’t comment from experience but I’m reliably informed that DNxHD is a ProRes equivalent for a Windows platform. Might be worth a try. If your machine struggles playing back 4K UHD then try HD and if it struggles in HD then try 720p. There’s a bit of trial and error involved to find what works best for your system as each workstation can be so differently spec’d. Also consider your hardware and make sure you have drives that are fast (ideally a RAID setup) and connected via a modern interface like Thunderbolt or USB3.
Can i record real internts to??
So helpful mate thank you
You’re very welcome. Make sure to check out the latest video we put together showing what to do with those presets in Premiere Pro so you can take advantage of the Proxy Workflow when editing high resolution media.
FANTASTIC! Thank you
No problems! Hoping to do a lot more videos in 2018 so please consider subbing to stay in touch!
Really great video. So good, I've watched it about 6 times so far! I had become really confused with the whole proxy/ingest/encoding settings, to work with what I'm trying to achieve right now. So, where do I start .... Basically, I am travelling to various destinations right now, filming different people in different offices, all under the same project. I am trying to transfer the footage recorded (4K), after each session, from my SD card to my LaCie portable drive, but create proxies on my internal drive, so I can edit on the fly, without connecting my LaCie. I really like the verification option offered, as I do not have any backups of this footage, hence want to use Adobe Media Encoder. The destination on the LaCie drive needs to be different on each transfer (i.e. a folder with the persons name). The Proxy's can all be together in the same local drive, but I'd like to rename them with "_username_Proxy" at the end. Essentially, I'm trying to create a base INGEST/ENCODE preset, that I can modify on each bulk import. Did that make sense!? Sorry, but I'm almost there in understanding this process, but still a bit lost on the last leg!
Can anyone advise? I'm still struggling with this...
Sorry for the slow reply. So I think what you are trying to do will work. Are you creating the proxies from within Premiere Pro once you've created your Inget and Encoding Presets? If you do then the folder that gets created can be saved at a location of your choosing (or just save it next to the originals and then manually move the folder and relink the proxies when they go offline). Also, the files automatically get renamed to be the same as the original source file but with "_proxy" on the end of the filename. If you're looking to just use the Encoding preset in AME rather than going through Premiere Pro then you can create a folder and have all of the files encode to that folder. Then using a batch renaming service like Bridge CC you can rename the files to have the same filename with the "_proxy" afterward and then reference back to those files because within Premiere Pro you can relink proxies that have gone offline. Obviously, if you aren't using Premiere then let me know.
@@AlexCameron-Depiqd Hi Alex, well there's no need to apologise for a late reply, as I now beat you with my reply after 2 years!! (For whatever reason, I never knew about your reply - must be my notification settings, anyway...). I've come back to watch this fantastic video again, as although I've created proxy's many times over the last few years, I've just shot a load of footage at 50fps 4k, with the plan to interpret it at 23.976 in Premiere, for a slower motion look. I'm providing a library of assets to a client to be used over the next year for social media/promotion. So first question, as I know I will be doing that with all the footage, should I make/name the Encode preset to read the 50fps source files during transferring from SD card to hard drive, and then instruct Premiere to 'interpret media to 23.976' or to the 'interpret' part first, and then create proxy from Premiere (via Encoder) with a preset that reads the footage as 23.976fps? Wow, I still find this confusing! (If you do personal tutoring, I'd be willing to find/pay for 30 mins or so!)
you for uploading tNice tutorials for free and providing education to beginners.
Hey! hopefully you could help out. I am using a Sony a7sii shooting 1080p 60fps. Second camera is an old Sony XDR-XR100 camcorder. To save the files from the camcorder, I open up one singular AVCHD files, I have to open every single video file into quicktime, individual save it and then work with it from there. I want to be able to hook up the camcorder to my computer, and use media encoder or some other way to move all the video files I want into my timeline. Any tips on using media encoder to ingest this footage?
Hey thanks for your question Stavro. It's been a while since I did any work with a camcorder to be honest and even then not that familiar with the AVCHD format. That said, if it's similar to the issue experienced with the Canon C100 and the AVCHD file that that camera produces then I used to use a program called ClipWrap to essentially 'unpack' the video files into new ProRes MOV files that I could then ingest straight into the NLE and work with. Not sure if that helps but I hope so.
Hey, thanks a lot for the video, I've got a question though, maybe you or someone else could help. I want to make proxies for Arri Raw footage (I'll edit in Davinci Resolve). So the problem is, I have a huge amount of clips to go through, but I don't seem to be able to import the whole bunch in one go into Media Encoder. I don't know exactly how the codec works, but Arri Raw has folders that contain a huge amount of clip snippets, that then need to be "merged" into one clip. So whenever I drag and drop it into the Media encoder, the encoder imports every single clip but doesn't merge it. If I go through the Media-Browser I can double click every folder and then drag the clip over into the queue (without all the single clips). Problem is: it takes time to drag and drop several hundred clips like that into the encoder. Does anyone know how I could do it faster? Thanks a lot in advance!
You're so welcome. It's a good question...I haven't worked with Arri Raw Footage before to be honest, however, if it's anything like CDNG or RED R3d files I know what you mean about how the clips get broken up into different sections/folders etc. I'm honestly not sure what the solution would be in AME as I can't test a solution out for you. That said, why not take the footage into Resolve (as you'll be editing there anyway) and either use the Optimised Media option to create you some lighter versions of the clips to edit with OR use the Media Management function in Resolve to transcode the footage into proxies that you can then conform to. Can't see why that wouldn't work for you and I've used it before to create ProResLT clips at 720p from Master R3D files for an editor that I had to send the clips to remotely. Let me know if that helps - If need be I'd be happy to do a video to show you the media management in Resolve.
@@AlexCameron-Depiqd Thanks a lot for your answer. In the end I did use DaVinci to make the proxies - to be honest I haven't even thought of that option because I was so fixed on the idea that I had to use the encoder. But it worked great with Resolve. :))
finally got it....thank you!
it says ''failed'' when i try to render in h.264, i can render is any diffrent codec but not in h.264...
Hi, amazing video!
I just can't make ingest presets that work on my workflow.... How could i make Apple pro res for 59.96 fps ? and mixe them with 23.976? i've been having a big headache tryin to achieve this! could you help me? thanx =]
If I understand you correctly Emiliano, you need a preset that will work for both 59.96 fps footage and also 23.976 fps footage. Is that right? If so then sadly it's a case of making two separate presets - one for the 59.96 footage and another for the 23.976 footage. I have the same with 25fps and 100fps (based in the UK). It would be great if we could use the 'Match Source' option for FPS but I have found that this doesn't work as expected yet and that Adobe may well address this in future versions of the software. Of course if it worked then essentially you could just throw all your mixed frame rate footage in there and have AME work our if it should be 59.96 or 23.976 whilst it transcodes to your codec of choice. Until then sadly just create two presets, one for each and encode all your frames rates in different batches.
Great video! Why Quicktime?
Only quicktime will provide Apple ProRes which is a codec that MACs work really well with.
99/00 was sotNice tutorialng called Vision DSP or DST or sotNice tutorialng and didn't quite work the way soft soft does, but tNice tutorials video helped so
VERY GOOD
This video was really helpful.. but.. the image overlay, which I thought was a good idea at first, meant I had to create a whole new preset without it and start again.. basically, if you're using warp stabiliser the added watermark will mess up the warp stabiliser process, which is pretty intensive, something you don't want to be doing with long 4K footage! Other than this, great video
Thanks for your input John. In honesty, I've not experienced this issue myself. Sorry if that caused you some additional workflow time. A good note to bear in mind for others then is that they may want to create a preset with and without overlay. As mentioned, I haven't experienced that myself yet but if I do then I'll certainly bear your comment in mind. Can I ask, when you say "mess up the warp stabiliser process" what kind of issue are you seeing? For example, is it just that the WS process doesn't provide as good, if at all, stabilisation with the overlay there? You could try toggling of the proxies and applying WS to the original and then toggling back on after that. Not something I've tried yet but would be interesting to know if that solves the problem perhaps. Thanks again for watching and commenting.
+Depiqd - Film and Video Production What I experienced was that warp stabiliser treats the overlay as a stationary object but tries to warp everything else which gives you loads of distortion.
You can try toggling the proxies but this defeats the purpose of using them, as I mentioned, WS is an intensive process.
Thanks for the clarification. I thought this is what you meant but good to be 100% sure.
I agree that toggling the proxies off, applying WS and then toggling proxies back on defeats the purpose of the proxies and I know too well how intensive WS can be. Just trying to offer some potential ways to work around the issue. Not even sure that method would work without testing it but as I say I haven't experienced the same issue myself. I'll do some testing when I get a moment and see if there's a work around. Appreciate you've sorted it now but if I can help then I will do my best! Cheers
Thank you so much for this wonderful tutorial. Saved a lot of time :)
You're welcome! Thanks for stopping by.
Thanks found it very helpful , just find Adobe proxy method way to cumbersome long winded, compared to Black Magic Da Vinci Resolve 16 or Grass Valley Edius Pro 8.
You’re welcome. Thanks for your feedback. Glad you found it helpful. I agree the Adobe method is longer winded than those other platform you mention. The one thing I DO like about it though is that it does this in the background. If DaVinci optimisation could happen in the background it would be awesome!
Succinct and practical. Thank you.
One big Question here, can i use this exact proxy setting for windows?
Sorry it’s taken me ages to answer this! I would imagine not as were using ProRes which is a QuickTime format. On a PC I’d recommend using one of the DNxHD flavours. Hope that helps (sure you’ve found the answer already). Did you get it sorted?
10:37 INGEST PRESET (NECESSARY FOR THOSE LOOK FOR JUST THAT)
Well my GMS is softing like my old broken Hard Drive ?!
any of them even if they all are bit similar. But I can tell few tNice tutorialngs changed and also I forgot almost everytNice tutorialng so I guess Im gonna start
Nice
thank you very much!!
Thank you
Please can I approach yours
tutorial videos. Thanks
can i make 3840x2160 ?
Kocak If you want to use a preset that’s 3840x2160 then go for it. It kinda defeats the purpose though of proxies in my mind.
pls how to render full resolution 60fps like this
th-cam.com/video/PDHxfq0MtsI/w-d-xo.html
go to 0:14
i have channel intros maker, but my quality is bad
not all resolution can 60fps :(
Tag the next video for easeee
not wNice tutorialle quarantine but how r u doing is that hard ?
apply inguest presets into adobe premier did you do that video yet
I did. Ages ago - lol! Just have been so busy I hadn't been able to finish it off! Will be publishing it very soon so please stay tuned.
It’s up now by the way if you haven’t seen it so do go and check it out. Cheers
My only critique is that you forget about us PC people. And we are our there lurking! LOL Anyway if you could give a little more info for us that would be great. Or also us H.264 people. As that gives options we do not completely understand and would be great to have them explained. Thanks!
but there is a benefit in it))
I started here.
damn tNice tutorials felt like i learned a new language or programming.
all workеd
Your mouse click is hyper annoying.. I barely could resist. Thanks for the tutorial.
Apologies. I was trying to see if it helped people follow what I was doing. Thanks for watching though!
@@AlexCameron-DepiqdI got your point. I appreciate a lot what you do. It is just me, I have problems with the click sounds :) have a nice day!
Mlk, se pá que o canal foi hackeado
Sa
JK
lol look at tNice tutorials dude
Long unnessessary talking, too many words but the essentials are missing. Please stay with the subject from the title.
you talk to muchhhhhhhhhhhhhh
THANK YOU SO MUCH🙏🙏💯
Happy to help