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Re: proxy workflow: copy & paste proxy sequence to 10bit b4 final export?

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Samuel Frazier
Re: proxy workflow: copy & paste proxy sequence to 10bit b4 final export?
on Aug 16, 2019 at 12:59:01 am

[Shane Ross] "Never master with Proxy footage. Dropping that into a 10-bit sequence doesn't magically make it full resolution."

I should have described this in more detail, but figured it would be the tr,dr. Premiere is so buggy with this project on his iMac that even switching b/t the proxy and the master often crashed it. It's still buggy and prone to crashing on my 2017 iMac, but not nearly as bad. So, it was a choice of having him either not do the color correction or to do mostly proxy correction. I believe he still braved switching from proxy to master as much as he could, but he'd always have to switch to proxy to actually get it to play back. I figured the only correct way to do it would be copy and paste the clips into a 10bit seq and switch to the masters. This just would not happen on this project though.

[Shane Ross] "Then transcode to ProRes HQ, or ProRes 4444. Many camera masters take a lot of system resources to play back natively. And even with a totally decked out high end system, some won't play back smoothly, so you transcode to a high end, finishing codec."

I thought about and tried this out. Unfortunately, the transcoded files would have been way too big for me to work from--especially as I was traveling a lot and working from a 4TB SSD RAID.

[Shane Ross] "Does it? I thought you had to click that one button in order to switch the sequence back to linking to the masters, and not the proxies."

Yeah, it does. Very handy too!! I think Premiere gives an alert to this effect when you export from proxy files.

[Shane Ross] "But still, you really should do a proper online, relinking to the masters and grading those, or transcoding those to high res masters and grading them. Even color grading the proxies won't show you what's really happening."

No doubt, that is the way to do it. But, I've now got the color correction from him and it's definitely better than what I could do. Ideally, I'd take that see what I get when this is in a 10bit sequence and using the masters.

But, in the short term, I take it there's not much point copy and pasting the clips into a 10bit timeline & exporting from there to H.264, right?

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