Pushing the Envelope #3 Using Proxies скачать в хорошем качестве

Pushing the Envelope #3 Using Proxies

This time we are discussing proxy workflows: -Proxy files have been an important way to improve editing performance on high end media projects for many years. Premiere Pro has its own proxy functionality that allows you to seamlessly switch between proxies and full quality source footage for rendering and playback. -Premiere Pro's proxy functionality has some very specific behaviors that affect the recommended approach to proxy creation. The proxy is stretched to fit the source clip regardless of aspect ratio, so letterboxing doesn't work correctly, and changing the color space causes issues with effects when toggling proxies. -I recommend keeping your proxies in the same color space as your source footage and applying color conversions as effects in Premiere. And you definitely want stretched-to-fill selected for any encoding presets you plan to use for proxies, to prevent letter-boxing or pillar-boxing from being added to your proxy files. -If you're going to burn in metadata, it has to be in the frame since there will be no letterboxing. This should be less necessary since tracking back to the original should be handled by the application. But it may be beneficial to have the burn in as an indicator to identify when proxies are enabled. These can be set in the encoding settings for your ingest preset. -Once you have the settings configured, creating proxies can be as easy as right clicking on your asset and selecting Proxy, Create Proxies. -Proxy format is another important choice. Low bit rate DNx has been my recommendation for over a decade, but recent developments may be shifting that. ProRes proxy is now an option, and with recent hardware acceleration support, H.264 or HEVC may be viable alternatives as well. -You can select the format and preset or Add Ingest Preset to select the file you've exported from Adobe Media Encoder. -To create ingest presets in Media Encoder, select Preset, Create ingest preset. You set the presets name and then instead of copying the files, you want to tell it to "Transcode files to Destination" and select an Encoding Preset to use. You right click the Preset to export it to a file and then you can add that ingest preset into Premiere Pro's proxy generation tool. -When we create that proxy, it queues the transcode in Media Encoder and then attaches the resulting file as a proxy to the source clip in Premiere. -You can even tell Premiere to make proxies automatically whenever you import media, in the project ingest settings. -You can also start by importing correctly created proxies, and then attach the full resolution media later for the same final effect. In that case, it is important to make sure you set Default Media Scaling to: "Scale to frame size," if you plan to do any framing work with low res proxies. -Once you have the proxy files attached to the master clips, you can easily swap between proxies and source footage by adding the toggle proxies button to your program monitor. When the button is white, you are viewing the originals. When you've enabled proxies, it turns blue and you can see that we're now using the proxy file. -Now you can work quickly with your proxies and render from full quality outputs when you're ready to export. -You have the option of exporting from proxies if desired, to save rendered time when full quality isn't needed. And if you bring your proxies on a laptop to edit on the road without the full res files, Premiere automatically pulls from the best assets you can find when exporting.