[Matt Dunne]

Create your sequence to whatever your final export would be. In this case it’s 1080p since you’re moving and scaling the 4K files around. Those scales and moves will be translated back to the 4K footage. You can always turn on and off the proxy preview to make sure when you’ve done your move or just render that section which will show the full resolution files.

I don’t think there’s a default for set to frame size. I just create a shortcut and apply as I need to. Also double check your proxies, 1024×540 isn’t 16:9 so you may want to consider the 1280×720 proxy if your 4K footage is 16:9 that is.

-editor of things

[Matt Dunne]

Hi Roberto, I would manually set up your sequence settings since the proxy files are most likely ProRes LT. Edit with the proxy files as you would like to and when you render or export Premiere will automatically switch to the original media. Make sure when you bring in your files they are “set to frame size” and not scale so you can still use the full resolution of the 4K media when you are moving the clip around.

I’m a little confused by your second question since you aren’t exporting a 4K file but a 1080p file. It’s my understanding that the proxy button in Premiere is just for play back so once you hit export you’ll see it will take a bit longer and your original media will be used.

[Matt Dunne]

Well we’ve had more time to sit down and take a look at the proxy workflow. Hate to say it but it is pretty nice. What I didn’t realize is that Premiere does use the original media to export the file even if the proxy preview is toggled on. Hoping someone on the Adobe team can confirm but it seems to be the case.

Anyways, nice job Adobe.

[Matt Dunne]

Hi Craig, I just stumbled on your post and wanted to see where you landed.

We’ve been using a hard drive/LTO solution for about a year now and it’s been working out great.

We backup on hard drives incrementally as well as our LTO tapes through BRU PE. I take the tapes off site and bring them back when I continue to fill the drive (we have more than one project per 6TB drive).

When a project is locked and delivered we take them from our server and make sure the hard drives are up to date (master and backup drive), then do a full final backup on LTO. These are now considered “archives”

It was a little costly to get the LTO system in place but doing the match it made far more sense then any cloud or cold storage solution since you pay per GB on upload/download and monthly. These costs will simply exponentially expand on a month to month basis where LTO 6 tapes are always about $30.

LTO doesn’t require redundancy but is part of the redundancy. We have three backups (2 hard drives 1 offsite tape set). One advantage to keeping the projects on drives is access. If you have to export a new version of an old project you wouldn’t want to take the time to grab it off the tape, you would just plug in the drive and go from there.

Hope this can help shed some light on things.

[Matt Dunne]

I’ve experienced this as well. It seems crazy that I can’t create custom proxies. I don’t want to have low rez files when working with 4K just a lighter codec. If I’m working in a 1080p timeline and I use all that extra space to push around the image doing so on a clip that is 1024*540 is going to look terrible and when the client sees it I don’t want to have to explain why.

I guess I’ll continue using the online/offline process I’m used to until we can use this new feature with custom presets.

[Matt Dunne]

Welp, I feel like a dope. My sequence settings were crazy and it wasn’t outputting the right signal.

Thanks for the lightbulb/face palm moment. Time for more coffee.

[Matt Dunne]

Anyone having issues with mercury transmit? Playing to a desktop is fine but I’m unable to ouput a signal through my Blackmagic Studio 4K to the flanders monitor.

[Matt Dunne]

I was just reading about this and it says that the proxy workflow isn’t compatible with After Effects so you can’t dynamic link. Although I’m not sure why you would want to use a proxy that’s a smaller frame size than your original media. It seems like you would be setting yourself up for a headache.

I’ve been trying to wrap my head around the new proxy workflow but I don’t see the advantage of having the software handle it for you, maybe I’m missing something.

I can’t make full resolution frame sizes through the ingest function and when I attempted to create my own preset I didn’t see an option for codec/frame size. To avoid headaches I usually leave the frame size the same and just transcode to a lighter format.

It seems to me it’s easier to just continue making proxies through a transcode preset in Media Encoder or Resolve and then maybe use the “attach proxy” function to handle the switching back and forth.

Am I missing something?

[Matt Dunne]

Thanks for responding Tim. Just so I know I haven’t been saving the jobs through the operation window. Is that something I should be in the habit of doing? Is there a difference between doing an incremental backup this way and “appending” the tape? Is there a way to retroactively save the jobs I’ve done in the past?

[Matt Dunne]

Been reading a lot about this camera. I would love to see it catch on. I really love what Panasonic is doing here.