Great vid, just to add - It's always a good idea to relink to a dedicated conform workspace that contains only the hi-res media, rather than to relink to all drives. That should help avoid the issue you had where you accidentally relinked back to your LB proxy.
Hi, In your example, you use only one type of clips in sequence. Now imagine that this is only part of the all edit. Are you also relink it entirely? I am to the fact that there should be a way to return to the source clips only part of the footeage used. Thank you.
If there were other types of clips in any "sequence" -- avid should relink them in the same way I showed with the one clip and yes for only the part of the footage used. That is the proxy workflow when it works right. Cheers!
@@avidbeer Definitely so. However, it makes sense to think about whether it is worth relink the whole edit because of several clips. I would advise you to tie up not the entire sequence, but only the necessary clips. Thanks.
@@documov Oh yes, very good point...I found very interesting when I heard about how they did a Muhammed Ali documentary with a ton of different sources/frame rates etc, they didnt' relink anything...they cut it with the low-res and then re cut the hi-res clips over it on a higher track of the sequence. Was too risky to "relink" and have one shot be in the final output with the low-res version
Couple of questions: Why did you not make proxy 1/4 raster size, so the transcoded proxies were 1080p instead of 4k? Couldn’t you have relinked the altered hi res timeline back to the low res proxies? I’m pretty sure I have in the past. Pretty sure you could even create the 1080p proxies and relink the hi res sequence to those instead of the previous 4k proxies.
So the only reason I didn't drop the raster size is because it didn't drop the file size but I totally see your point. I assume Avid would work with it easier and I will definitely do that next time, thanks. As far as relinking the "final" sequence back to low res, yes your right again but I had so many clips (some didn't relink properly when I went hi-res) that I felt like it was safer to keep the two versions like I said in the video. I look forward to the day where computers can handle hi-res to the point this is all a thing of the past!
@@avidbeer thanks for the answer. Does it really not drop the file size in practice? That surprises me. I’d have expected it to. But I’m not experienced with 4k workflows.
Good question -- I guess you could change the source dimensions but I don't think it would affect the size of file that much -- what makes a file the "proxy" is the resolution. If you want to cut 4K footage in a 1920x1080 project because that is the output you can just make clip smaller in source settings so it fits the "smaller box" in a sense.
Great vid, just to add - It's always a good idea to relink to a dedicated conform workspace that contains only the hi-res media, rather than to relink to all drives. That should help avoid the issue you had where you accidentally relinked back to your LB proxy.
Awesome tip...thanks man!
Dude! You explain things so well.
Thanks for the kind words! Cheers!
What a great explanation! Thank you!!
Coming from FCP and Adobe background, I find this utterly absurd.
Hi, In your example, you use only one type of clips in sequence. Now imagine that this is only part of the all edit. Are you also relink it entirely? I am to the fact that there should be a way to return to the source clips only part of the footeage used. Thank you.
If there were other types of clips in any "sequence" -- avid should relink them in the same way I showed with the one clip and yes for only the part of the footage used. That is the proxy workflow when it works right. Cheers!
@@avidbeer Definitely so. However, it makes sense to think about whether it is worth relink the whole edit because of several clips. I would advise you to tie up not the entire sequence, but only the necessary clips. Thanks.
@@documov Oh yes, very good point...I found very interesting when I heard about how they did a Muhammed Ali documentary with a ton of different sources/frame rates etc, they didnt' relink anything...they cut it with the low-res and then re cut the hi-res clips over it on a higher track of the sequence. Was too risky to "relink" and have one shot be in the final output with the low-res version
Couple of questions:
Why did you not make proxy 1/4 raster size, so the transcoded proxies were 1080p instead of 4k?
Couldn’t you have relinked the altered hi res timeline back to the low res proxies? I’m pretty sure I have in the past. Pretty sure you could even create the 1080p proxies and relink the hi res sequence to those instead of the previous 4k proxies.
So the only reason I didn't drop the raster size is because it didn't drop the file size but I totally see your point. I assume Avid would work with it easier and I will definitely do that next time, thanks. As far as relinking the "final" sequence back to low res, yes your right again but I had so many clips (some didn't relink properly when I went hi-res) that I felt like it was safer to keep the two versions like I said in the video. I look forward to the day where computers can handle hi-res to the point this is all a thing of the past!
@@avidbeer thanks for the answer.
Does it really not drop the file size in practice? That surprises me. I’d have expected it to. But I’m not experienced with 4k workflows.
awesome video, what's your workflow if you want the proxys to be 1920x1080 but your raw clips are 4.5k?
Good question -- I guess you could change the source dimensions but I don't think it would affect the size of file that much -- what makes a file the "proxy" is the resolution. If you want to cut 4K footage in a 1920x1080 project because that is the output you can just make clip smaller in source settings so it fits the "smaller box" in a sense.
@@avidbeer thanks for replying very helpful love your other videos not enough quick avid MC tutorials out there