Proxy workflow with EX-3 or edit natively

[Angelo Lorenzo]

I would test a proxy workflow (including bringing the original files online) before making a decision. The EX3, if I recall since I used it briefly on a Comedy Central show, produces footage in a self contained MP4 file, rather than a group of MXF files so relinking media should be rather painless.

With that in mind, I would consider a hybrid workflow. I would generate 640×480 or other small proxies, upload them nightly (if you know you’re staying in a hotel with stable internet), and then overnight the footage.

You have to remember the turn around time of an overnight, as FedEx drop spots usually have a pickup time of 3:30-4:30. If you miss the deadline, a drive gets toasted in the mail, etc then you still have the proxies being edited.

This is, of course, assuming you have the budget for all the back and forth overnights (you’ll need to get the drives/cards back).

Its kind of a risk management situation. Option A (proxies over the internet) cost nothing extra while Option B (overnighting media back and forth) increases cost and shot complexity. Both options open you up for possible issues (bad or no internet connections, missed shipping pickups) but you’re fairly safe using both in tandem. Ask your producer about the cost and figure out if at any point in time is losing a day because of a possible issue catastrophic to your production?

You could, for instance, do proxies during the beginning of the shoot where losing a day isn’t so critical and then switch to shipping drives and using proxies as you near the deadline. This could substantially decrease shipping costs while still keeping you on track.

——————–
Angelo Lorenzo

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[Chris Detjen]

Thank you for the reply and insights. Can you tell me what is the recommended way to create the Proxies, and the time involved? I am not sure whether the producer or DP who will be travelling have done that workflow before. Would Proxy Mill be the best solution?

[Angelo Lorenzo]

Even here there are a few ways to go about things.

First and foremost I suggest using Dropbox Pro instead of FTP. Your field unit and your editor are both logged into the same account. Your field unit could, with whatever program they decide to use, export proxies straight into this folder. Dropbox will upload them and sync them to your second computer where your editor can move them out of the dropbox folder and onto your editing drive. What makes this more attractive than FTP is that Dropbox uses file deltas/checksums to resume uploads and so you can be confident knowing the file on your drive is exactly the file that ends up with your editors. You don’t have to fight with FTP disconnecting and then trying to resume and corrupt a file.

I’ve spoken to the people at Imagine Products and they’re a solid company. Proxy Mill, for its core fucntionality, seems expensive to me but it’s nice because it’s idiot proof. It’s a super automated way of doing things. I haven’t used it personally.

The other product I recommend is Adobe Prelude. It’s $400 but if you want a creative cloud cancel any time subscription then it’s $30 a month for the duration of your production. With this you could, in a slightly more manual way (aka point it to your footage folder and hit ingest), load up all your footage and batch a big group of proxy files.

You could also do some preroll-postroll trimming with Prelude or, if your field producer feels inclined, do a rough edit within Prelude and export it as an Fina Cut XML (it will also do a Premiere Project but the Project file it spits out may not be compatible with you editor’s CS5.5, but Premiere can take Final Cut XML).

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

I didn’t touch on time. I would say benchmark with whatever system you’re going to use as the time could be highly variable. A ballpark figure for an h.264 proxy (we’re going for small size and CS5.5 can handle it) earmark anywhere from a 1:1 to 1:4 ratio: for every hour shot expect 1-4 hours for processing. Super broad, your field unit may have a top of the line new MacBook pro or maybe they have an older MBP or an MacBook air… regardless I would say “overnight” is a good way of planning for it. If you shoot in the morning then expect mid or late evening same day.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Chris Detjen]

A quick follow up, we ended up siding with your latter recommendation due to tight schedule of the crew–had little time to render proxies. We ended up Fed-Ex-ing the SxS cards overnight. I was able to start cutting right away with Premiere. Ended up saving time, not having to relink from Proxy to Hi-res. Thank you for the advice