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using avchd and prores proxy (and skipping prores 422)
Hi All,
Curious about a prores proxy workflow when shooting avchd. Seems like a great space saving option, but I’m confused about the relationship between the proxy and the original footage when I engage in color correction. If I apply color correction to the proxy footage, what happens when I toggle back to original (and vice versa)? Should I toggle to the original footage whenever I am doing color – and then toggle back when I resume clip editing?
It would seem that the proxy footage would not handle color effects very well at all. So I’m curious if there is any reason for me to stick with transcoding to full pro res 422.
Alex Mallis
AnalectFilms.com
brooklynfilmmakerscollective.com -
1 Reply
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[Alex Mallis] “Seems like a great space saving option, but I’m confused about the relationship between the proxy and the original footage when I engage in color correction.”
it is a space saving option, because it’s a very low rate codec. it’s meant for “offine cutting,” meaning space saving and lighter load on the processors, but it’s lower quality too…not full quality. You convert your footage to ProRes Proxy…edit, and then when you lock picture, batch capture the footage to ProRes 422 or HQ, and color correct that. I have a workflow for that here:
https://library.creativecow.net/ross_shane/tapeless_online/1
[Alex Mallis] ” If I apply color correction to the proxy footage, what happens when I toggle back to original (and vice versa)?”
Nothing happens to that footage. If you color correct the Proxy footage, THAT’s what’s color corrected. There’s no relinking to the originals, as FCP doesn’t work with AVCHD native….not FCP 7 anyway. If this is an FCX question…ignore me entirely and go to the FCX forms:
https://forums.creativecow.net/finalcutprox
[Alex Mallis] “Should I toggle to the original footage whenever I am doing color – and then toggle back when I resume clip editing?”
No. You don’t do the color correction until you lock picture. You can do some temp work, if something is too dark, but if you are offline/online cutting like this, that will need to be redone.
[Alex Mallis] ” So I’m curious if there is any reason for me to stick with transcoding to full pro res 422.”
That’s full quality, opposed to offline quality. YOu don’t need to cut ProRes 422…but you should finish with it.
Shane
Little Frog Post
Read my blog, Little Frog in High Def
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