H.264 files are about 1/10th the size of ProRes Proxy.

If your master files have more than two channels of audio, even if one or more of those extra audio channels is empty, use either ProRes Proxy or DNxHR LB codecs for your proxy files.

The frame rate of the proxy must match the frame rate of the camera master.

Tell whoever is creating your proxy files that they MUST follow two rules: Premiere has you covered for this as well, but there are two steps that aren’t intuitive. But, you don’t want hassles when the camera masters arrive. NOTE: Here’s the link to a tutorial that illustrates this.īut, what’s the workflow when you are getting proxies sent to you directly from the set, while the high-res master files will arrive a few days later on a hard disk? You need to start editing now, without waiting for the high-res masters to arrive. The current implementation in Premiere makes this fast and easy.

I’ve written in the past about the built-in proxy workflow for Adobe Premiere Pro, when Premiere creates the proxies.

Davinci resolve tutorial proxy files