Here’s a tutorial for DaVinci Resolve, here’s one for Final Cut Pro, and here’s one for Premiere Pro. If there’s one thing that’s going to make your editing smoother, it’s using proxy files that your computer actually likes to work with. Of course, the final export will be done with the real footage. Then, while editing, the user can toggle between the proxy footage and the real footage. Today, DaVinci Resolve, Final Cut Pro, and Premiere Pro all natively support a “proxy workflow.” The user will still transcode the files to ProRes, but this time, the files will be much smaller, let's say a 480p ProRes 422 Proxy file. Nowadays, we have even better workflows for smaller productions that don’t result in huge file sizes. It’s part of what made Atomos’ recorders so popular during the DSLR revolution. This would result in huge file sizes, but the uncompressed nature of ProRes helped make editing nice and smooth. In 2010, the big thing for indie productions was to transcode all the footage into ProRes. In short, the more compressed a video file is, the harder it is for a computer to uncompress that file. On tight turnaround productions, these are make or break decisions. These kinds of files will force a computer to work harder than necessary. For example, a head of production may require that all cameras avoid shooting with a “long-GOP” compressed format. Step 1: Preparing Video FilesĪ lot of photographers might not realize that professional video pipelines often need optimizations to work correctly. So, I’ll run over some easy optimizations that could solve a lot of headaches. It’s no secret that video editing is an intensive task for a computer. In fact, older editing systems were purchased with the high-end machines that ran the software. There’s a reason post-production facilities have always loved a beefy Mac Pro or custom PC workstation.
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