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BRAW Establishing Workflow Question and Tips – Proxies
So I’ve just finished principal photography on a short film I directed and am now preparing for the edit. It was shot on a blackmagic ursa mini pro 4.6k. We went with the 4k codec res instead of the full 4.6k this time round.
I’ve just downloaded the latest Blackmagic RAW 1.6.1 for Windows, and I’m in Premiere 2019 v13.1.4. I’m playing around with generating proxys at the moment, and the h264 ones seem to work well. I have to sync all audio at some point as well, and I’m wondering if I should do that with all of the originals first (I have plural eyes), and THEN make proxies of everything? In essence I guess the proxies shouldnt interrupt it assuming all frame rates are kept consistent? I tried the DNxHD proxy and each time I swapped between proxy and original, a frame would move forward and backward! So I avoided that one.
Apart from the wrangling of files, is there anything else I should look out for in terms of beginning a project setup? I intend to do some VFX in After Effects, and the colour grade in Resolve down the line.
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2 Replies
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When making proxies, make them in an edit friendly codec, i.e., cineform. If you make H264 proxies you’re essentially defeating the purpose because H264 media isn’t edit friendly and will bog down your CPU.
I’d also recommend that you make all proxies in Resolve. It’s just easier. Resolve also has an audio export setting “same as source” which makes it virtually impossible to create proxies that don’t match your originals which is essential to the proxy workflow in Premiere.
Pluraleyes was a great program when Premiere didn’t have audio syncing built in. However, there’s no need for Pluraleyes at all since Premiere has robust syncing. Do all of your audio syncing in Premiere and it can be done either before or after proxy creation.
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Thanks for that info. I’ll have to look into how Premiere can sync audio en masse, i only know of its individual syncing.
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