You can also create a proxy file for a clip using the. Imagine you have a five gallon bucket filled with water. To convert media, either audio or video, from one format to another. To switch to proxy viewer mode, click the View button in the upper right-hand corner of the viewer window, and click Proxy under the Media heading. Camera native files will not be imported, but will be tracked. Then when you need to export a new final output, you could copy and paste clips from the duplicate project, or use a series of compound clips, or other alternative solutions.
Proxy media is always Apple ProRes 422 Proxy. When rendering, four versions of ProRes are available and when exporting all five versions of ProRes are available. Lastly, if I chose ProRes422 source , would that mean the output quality would be slightly lower than my original media? Select the clips and right click; choose transcode media; check Proxy in the dialogue that appears. You have to remember to generate proxies for every clip in your browser, including footage from your drone, stock video, sound effects, music, you name it. There are two original files that are shot with the same camera and have the same format. However, powerful machines like the new Mac Pro can handle multicam and high-res media without needing to create proxy files. So now that this is connected to the proxy clips and I showed that workflow, I just wanna make sure that we actually connect back to those original files.
And, now, you have a better idea what your options are. You may be able to get better performance by doing the following: Use proxy playback by changing the media setting to proxy in the Viewer Options pop-up menu. When transcoding files, Final Cut Pro always retains the original media for future use. I recommend you contact Apple Support. Any help on this most welcome. You can also transcode your media after importing.
If no proxy media exists, you can click the Generate proxy media button. If not, stay with ProRes 422. For this reason, since ProRes 422 has a much higher bit rate than ProRes Proxy, the image quality is potentially better. You can monitor the status of transcoding, and other background tasks, by clicking the clock icon to the left of the timecode display. The mathematics used to convert light and sound into numbers the computer can store.
Tell us about your experiences in the comments below. You can see the status of all the background processes currently running in the. With all of these choices it sometimes can be a bit confusing why, when and where to use what version of ProRes. Hopefully this will speed up your edit and render time, making you a more efficient video editor. If you later copy or move clips between events, only the symbolic links are copied or moved not the source media files. After the files are imported, transcoding, optimization, and analysis are performed in the background. Editing 4K video, however, is much more taxing on the MacBook, especially when employing various effects and color correction.
So let me show you this, I wanna select both of these clips. Some multicam projects would also benefit from working with optimized media. My strong recommendation is to set project render file settings to match the format you want to export as your final master file. Although proxy files are much smaller than original media, creating these files still takes up additional space on your Mac. Media can not be transcoded from the Timeline. When you export your project as a Master File via the timeline Share menu. But we also have the benefit of producing, shooting, and editing completely independently, without having to interface with clients, producers, or other editors.
Video is transcoded to the Apple ProRes 422 Proxy codec format, which provides high-quality files at the original frame size, frame rate, and aspect ratio. In this movie, author Nick Harauz demonstrates how to convert original video clips into proxy or optimized files in Apple Final Cut Pro X. I went to create optimized and proxy media last night, set it up to go on to my 1Tb G drive overnight. You can then set the browser to only display tagged clips, which is a great way to view relevant media. And don't forget that when you're ready to export your final project, you have to switch back to Optimized or Original Media, or else you'll mistakenly send your client a low resolution version of your video.
It is impossible to overstate the importance of the video codec in video production and post. Ready to pour some champagne? If you want to import media into a new library, you must before importing your media. If you are compressing files for the web, I would suggest you are wasting disk space; stay with ProRes 422. Or, if you want to export a format other than the one you picked for Project Properties, you can choose between one of the five ProRes formats, as well as H. There are also shortcuts for this process, if you are quick and confident that you can execute this workflow without errors. Let's explore how we can set up a proxy workflow for the clips we just imported.