ProRes 422 + ProRes 422 (Proxy) mixed timeline?

[Shane Ross]

[Tom Barton-Humphreys] “Do you think it will become an issue?”

Not at all. Mixing those formats, editing wise, performance wise…won’t be an issue.

[Tom Barton-Humphreys] “Will be quite a heavy show, 50 minutes, multiple layers…”

DRIVE SPEED will be what is needed here. Multiple layers means multiple video streams to play back. For that you need a fast RAID setup…a simple two drive RAID via Firewire won’t cut it, nor will USB3. You’ll need a Thunderbolt RAID, or other sort of fast RAID (depending on the computer you have and connections you support).

[Tom Barton-Humphreys] “is it worth consolidating everything to one or the other?”

Well, ProRes 422 is a finishing codec, ProRes Proxy is an offline editing codec…meant to lighten the load, but meant for an offline/online workflow…good quality but with space savings. Mixing these formats means more complex replacement of the footage later, when you lock picture. Might be best to make everything ProRes 422, if you have the drive space, or to use the offline/online workflow with everything.

But offline/online with Premiere isn’t always the best option…it’s not it’s strong suit. Depending on how the Proxies were made, and how you plan to online..etc.

Shane
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[Tom Barton-humphreys]

Thanks for the detailed reply Shane! It all makes perfect sense. Really appreciate it.

Best,
Tom

[Tom Barton-humphreys]

Although, I am curious why Premiere will be ok with mixed codecs on a full length program? We produced 6x 48 min episodes for PBS using camera native (GoPro, F5, F55, C300, 5D, RED etc) and it was a nightmare. I guess the machine had to unpack the data, wheres with ProRes/ProRes Proxy that’s already done?

Thanks
T

[Tero Ahlfors]

It all depends on your computer. When you hit a more CPU intense codec in the timeline the software might not playback in realtime but it’ll work. Premiere supports pretty much everything natively so there’s no need for complicated offline workflows.