As a result, there are more in-house studios then there were in the past. Numerous industries are using video in a variety of ways. As a result, you save time and move efficiently through the edit. Proxies give you the ability to edit the project while reducing the load on your system’s resources. When you set up a project that references large quantities of these files, often referencing more than one file at a time, your computer can grind to a halt or even fail to display the video. In turn, these formats produce incredibly large files that tax the resources of a video editing computer.
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High-resolution video formats, especially when uncompressed, are able to capture incredible amounts of detail. Consequently, the primary reason an editor might choose to edit with proxies is to speed up the editing process. However, there are always new technologies coming out and challenges that will slow down even the most advanced edit suites.
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Video editing applications are able to handle a wide range of projects and video formats. Post-production environments and pipelines are quite robust. In short, there are several reasons an editor might want to edit with proxies. Blackmagic Design Resolve Studio 16 rending menu for mass proxy creation Proxies in today’s post-production environment Even though the film industry wasn’t dealing with the issues of file size and bandwidth or bitrate, they were looking to make the editing process efficient. Once the edit was finalized, the editor conformed the source footage to the final cut. This allowed the editor to make multiple cuts using the same footage without ever touching the source stock. In order to mitigate the risk, the film editor would work with a workprint–a physical copy of the source footage. This put the physical film at risk from damaging scratches and folds. Film editing was a physical process in which the editor would literally cut the film and tape, or splice shots together. The film editor cuts the digital proxies of the source film.īefore the days of the digital intermediary process, film editors wouldn’t cut the source footage. The editor scans the film into a digital form using a telecine process. Most motion pictures that are shot on film use a digital intermediary for post-production. There’s a hidden history to proxies that comes from film editing. Adobe Premiere Pro CC showing the proxy creation menu A tradition from film When you’ve completed your edit, you can swap out the proxies with the source footage for your final output. Once the footage is ingested and transcoded, the project is edited using the proxies. Next, you should select a file that reduces the overall file size and plays efficiently on your editing system. This is where you’ll determine what you need for a proxy in terms of file size and format. While you ingest the source footage, you can set your video editing application to transcode copies of the footage.
CAN ADOBE PREMIERE PRO CS2 HANDLE DSLR FOOTAGE OFFLINE
The process for setting-up an offline edit that utilizes proxies starts at the beginning of post-production. It’s easy to do and has a lot of benefits for an editor who is looking for an efficient post-production pipeline. More importantly, editing with proxies has a long history in the post-production industry. Editors build an offline edit using the proxy footage and conform it as a final edit that utilizes the source footage.
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The proxy footage is a transcoded file that’s smaller in file size and at a lower bitrate than the original. Proxies are duplicate files of a project’s source footage. So, how can you keep up and efficiently deliver a quality edit on-time? Simple, with proxies. Thus, this burdens the systems used to edit them. The true quality they deliver in production is dependent on file formats that require a lot of space and bandwidth. However, these amazing formats come at a cost outside of their price tag. So, with rich colors and spectacular depth, HDR video is gaining ground as more capable display devices enter the market. Even cameras that deliver 4K footage are commonly found at consumer prices, and 8K cameras are within the reach of a modest budget. The powerful tools that are used to tell cinematic stories are readily available to anyone with a desire for filmmaking. There’s an embarrassment of riches in the world of video.