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Skill Level Beginner
- Hi, I'm Eduardo Angel. Welcome to the 1 Person Crew Video Productions Tips and Tricks. In this video, we will cover a quick overview of a proxy workflow, using Adobe Premiere Pro. Why? Because that's a very efficient way to work with 4K footage or even raw footage on a laptop or on a computer that is a few years old and/or doesn't have the top specs. Okay, there are two important steps to begin with. I have folder templates and I have project templates. The folder templates are the folders and subfolders for all the assets I think I will need, not only for this project but for all projects. And the project template is a similar concept. In this case, for Premiere Pro but it can be Resolve or Final Cut or anything else that has all the bins that I think I will need. Now, we're going to select the hard drive I'm going to use for this project. All I need to do is drag and drop my folder template. We are going to rename this. And as you can see, Original Assets, Original Footage and then organized by year, month, day and then the shoot day, one, two, three, four, five, and the cameras are going to be here. Now we can actually bring the files in. And for this tutorial, I'm going to drag these files into Camera B. And I'm also going to drag these files into Camera C so we can see how everything works. This is where the project gets really interesting. I'm going to drag and drop this folder into Adobe Bridge, believe it or not. And I'm going to select the Camera A. I'm going to select all my files under Camera A and I'm going to go to Tools and Batch Rename. And I have a bunch of different presets. I'm going to use this one. So the date created is the date extracted from the file so I don't have to remember when this file was shot. The same for the time created. The project is going to be Workflow Tutorial. And then this is Camera A and it's going to start with a sequence of numbers. And this is how my name is going to be, the file name. So I know when this file was shot, at what time, for which project, on which camera and the sequence and the file format. And here, I have the option to rename in the same folder, to move to another folder or to copy to another folder. I'm going to rename in the same folder. And it's done, it's that simple. Then we're going to do the same with Camera B. And because it's the same project, all I have to do is keep everything the same, simply change Camera B, start with the sequence of one and rename. And then I go to my Camera C. Same thing. I go to Batch Rename. All I need to do is change my Camera C, start with a sequence of one and then Batch Rename. And now, my project has all the original assets inside all the original footage, the date of the project and then everything is very nicely organized. Date, time, project, camera, sequence for all the cameras. They're all matching. Now it's time to jump into the project templates. Same thing, we're going to duplicate these. We're going to call it the same, the same name for the project. It makes sense. And I'm going to open that project in Premiere but Resolve, Final Cut, same thing. And now we can see, in this case, in Premiere that I have all my bins and everything is exactly the same as in the finder. So my audition projects would go here, my After Effects project would go here, all my sequences would be organized here. So what do we need to do now? We need to import the footage we just renamed. And to do that is as simple as going to my original footage. Check this out. Everything is beautiful. Everything is super nice and organized and all my files make complete sense for the project. And now, let's go to the next step. Proxies. Why proxies? Well, let's take a look at this. The Camera A, B and C are actually the same camera but B and C were recorded using SD cards and camera A was using an external monitor recorder. And if we play the footage, we don't need sound, but look at the terrible performance of Premiere Pro on a MacBook Pro with 4K at full resolution. It's just impossible to edit this way. So even if we lower the resolution, let's go 1/8, it's still going to be like stuttering all the time. It stops, it stutters. So we need to use proxies. The problem with proxies in Premiere Pro, even though it's easy to create them, the latest versions, the only clue we have for proxies is this button. This is with the proxies on, this is with the proxies off. But the media looks exactly the same. So what I do when I'm going to create proxies is on my Ingest Setting, I added a watermark that simply says proxies. So it looks like this. So I know I'm working with proxies. And now we have a much better performance. Now you see the water and the movement is not stuttering. But that's yet another advantage to work with external monitor recorders, shooting to SDs, to solid state drives because even though we're recording in ProRes 422 so the files are ginormous, the performance in the video editing software is flawless. And the next step in this Frankenstein workflow is the pancake timeline. And the purpose of this is to expand your very limited real estate, especially when editing on a laptop like I'm doing right now. We select a sequence, one of the sequences we want to have as part of the pancake timeline and Open in Source Monitor. That is key. And we are going to open the sequence in the timeline. And now, we can grab a second timeline and then we simply click it, double click it and then we drag this to the bottom. And the beauty of this is I can have two playheads. So one playhead that is connected to the top timeline and it's connected to my source monitor, and the second playhead connected to the bottom timeline that is connected to my program monitor. And there are obviously many more steps that I have added to my post-production workflow but at this point, you should be able to start editing your project in 4K on a laptop using essentially two monitors in one.