Streamline your editing workflow by embracing the use of proxy files and learning how to optimize working online and offline.
- Are you working with H.264 footage and finding Final Cut Pro could be just a little bit more responsive? Are you working with 4K, maybe 4K H.264 footage? Proxy workflows can sit back and really change your life, and make the experience of editing so much easier. My name's Jeff Greenberg, and we're going to dig into these proxy and optimized workflows. We're going to take a look at the terminology and history of online/offline workflows. We're going to actually walk through the basics, learn some key codec facts.
We're going to build proxies, and optimize media, during, or after import. We're going to use Compressor for some advanced proxy generation. We're going to see the nuances in editing from proxy material, and we're going to talk about some best practices for archiving. Of course, your mileage may vary. Please, any time you change a workflow, test everything from start to end. We take no responsibility if it somehow messes up your passion project. With those sort of caveats in mind, let's go ahead and get started with online/offline workflows, and see how they can make your editing experience that much more enjoyable.
- Comparing workflows: online vs. offline
- Working with originals, proxies, and optimized clips
- Generating proxies during or after import
- Generating optimized footage
- Determining if a clip or library has a proxy
- Compressing footage
- Using a preset to generate proxies
- Placing custom proxies in the library
- Switching between offline and online
- Exporting the right quality for clients
- Moving media in and out of libraries