#EDITREADY PROXY PRO#
#EDITREADY PROXY OFFLINE#
#EDITREADY PROXY MAC#

And if you need to create ProRes, you better hope you’re using a Mac or have some special way of creating it on a PC. If you’re creating media for Avid, this becomes even more difficult, because the formats Avid works with best– OPAtom MXF wrapped media – isn’t commonly supported. Often traditional standalone transcoders are good at single files or files with self-contained metadata – like a MOV or AVI file, and sometimes MXF. Now, this is where your NLE is actually better than your transcoders – often NLEs understand this camera card structure and can pull all of the appropriate metadata and media during a conversion. Often there will be folders, XML files, thumbnail, and other ancillary data files. Ever looked at the card structure of the media you shot? Unfortunately, these tools are usually pretty poor at understanding camera card hierarchies.Ĭamera Card Hierarchies. And they are really good at transcoding one standalone file into another. Adobe Media Encoder, Apple’s Compressor, Sorenson Squeeze, and EditReady are common tools in an editor’s toolkit. However, the usual suspects are fairly limited. This is where dedicated transcoders come into play.

Due to this, they may be pretty slow at transcoding to create your edit media, and they routinely don’t have as many options as a full-featured transcoder. Second, NLE’s are not meant to be transcoders. In multi-editor environments, this can be a logistical challenge when you’re short on systems…and time. What better tool to use than the one you’re editing with? But this solution does have some problems.įirst, your edit system is tied up. So, how do we create this media for your NLE du jour? Well, using the NLE you plan on creating with is the obvious choice. FCP X will also prompt you to create proxies when you import media to aid in the offline/online process – so just sit back and wait, or let FCP create the proxies in the background.

#EDITREADY PROXY PRO#

Premiere also has the newer proxy workflow to auto-generate low res media when imported into your Premiere project using Adobe Media Encoder.įinal Cut Pro X can create proxies during ingest.Īpple Final Cut Pro X, for obvious reasons, it going to work best with ProRes files, but will also play just about anything in an Apple QuickTime MOV wrapper. Premiere Pro also can utilize media wrapped in a QuickTime MOV wrapper, as well as MXF wrappers – both the OPAtom and OP1a flavors. Premiere, like Avid, will work best with non long GOP formats like DNxHD, DNxHR, and ProRes, but also introduces Cineform, which is a fantastic codec. You can create this media through the import function, using dynamic media folders, or consolidate and transcode within Media Composer itself.Īdobe Premiere is a bit more forgiving in terms of formats. Recently, productions have been moving to the 800k and 2Mb Avid h.264 variants so they can keep larger frame sizes. But if it means not spending money for larger storage or new computers, it’s tolerated. These formats are very small in size, are easy for computers to chomp through, but look like garbage.

#EDITREADY PROXY OFFLINE#

The go-to has been the 20-year-old offline formats of 15:1, 14:1, or 10:1. What these have in common is that they are non-long GOP formats, which makes them easier for Avid to decode in real time. This media is commonly DNxHD, DNxHR and ProRes. For Avid Media Composer, this is OPAtom MXF wrapped media. You need to create media that is recognized by and optimized for the editorial platforms you’re cutting on. This can be challenging for several reasons. OK, now on to actually creating edit-worthy media. Are you creating low res offline versions for editorial, and then reconforming to the camera originals during your online? Lower budget? This usually means that the assistants in post are doing a majority of this rather than the folk’s onset.Īs for the creation of edit-ready media, this speaks to the workflow your project will utilize. What will your production do? Often, this comes down to budget. Now, having the DIT do all of this isn’t a hard and fast rule, as often assistant editors will need to create these after the raw location media gets delivered to post. A very common tool is Blackmagic Resolve, but also tools like Editready, Cortex Dailies, or even your NLE. Lastly, the DIT may also create edit ready versions – either high or low res – depending on your workflow. This may also include adding watermarks to versions for security during the dailies process or putting a LUT on the camera footage. This can include syncing 2nd system audio to the camera masters. Now, this can vary depending on the size of the production, but the DIT will not only wrangle the metadata and media from the shoot and organize it for post, but they may have added responsibility. Adding a watermark, timecode window burn, and LUT inside Blackmagic Resolve

Editready proxy