This is awesome. I actually discovered this myself totally by accident. I always used ProRes proxies until a couple of months ago when I transcoded a bunch of iPhone footage from 30 to 24 fps and used H.265 as the codec, and was shocked at how good the timeline performance was. I’m definitely a believer now!
@@VONonDemand If you mean the proxies codec in master settings, no unfortunately you don't want to use that proxy because it only creates 8bit H.265 proxies. The proxy generator creates 10bit.
YES! This was worth a YT video, Chadwick. Thank you. I've noticed that my M2 Mac Studio exports H.265 blazing fast in the Deliver page and I've been delivering a long-format TV show. I had the same hesitation to use H.265 proxies, but I'll definitely give them a try now. My remote editor is also using a Mac Studio. If you're looking for ideas for more videos, I'd love to hear your thoughts on the LucidLink workflow for remote editing. Thanks again.
Great tutorial Chadwick, I don’t make proxies at the moment for my wedding films, but if I ever need them, H.265 is the way I will go! Thanks for the tip! 🙏👍🤗
Chadwick thanks for the video I just wondered what happens when colour grading when you are using proxies? Also presumably you just deal with log footage the same as you would if editing the master material?
I opted for ProRes Proxy because I feared MP4 files might break my project. Cutting a doc with a cloud project and over 40 TB of RAW footage in various formats. Considered h.265 because the file size is so great. But had some crashing and playback issues with anything that was either MP4 or h.264 I still want to try it on a smaller project. The proxy workflow is a fun discovery though. It was fun watching proxy files link up live on separate machines.
I made the switch earlier this year to H265 proxies on PC, after upgrading from Ryzen 5900x to 7900x. It's been very smooth with multicam editing (3-4 cams), with all of my footage on a 10Gbe qnap raid. Saving a ton of space (I'm shooting about 500 GB a week), and I don't have to worry about bandwidth on the network. I can even hop on the ipad and work off the wifi when I'm not in the studio.
@Caged_Monuments-x6p I don't think any Ryzens have a dedicated h265 decoder, but if the system is fast enough and your proxies are HD it doesn't matter much.
On PC with Intel Quicksync and Nvidia we have various H26x encoder/decoders .. I also wanted to mention that there are some intra h265 codecs.. not sure what BMD makes here. - EDIT: you can use shutter encoder to read the GOP structure and its interframe. I did quick test with BRAW to h265 using the proxy generator and it performs pretty well overall. Will stack some clips and try some effects and see how it holds up.. cheers! - EDIT : using some heavier transitions the h265 proxy still performs pretty well but not quite as smooth as BRAW
I too have been avoiding long gop proxies, and thought it odd that h.26x flavors were even options in the proxy generator. You've convinced me to switch! I guess BMD does have an idea what they are doing!
Made me curious, I'm gonna test it on PC. :) Just a quick note, it is not necessary to be the proxy files within the original footage media. You can move where ever you want, you just have to relink it later.
Please let us know what you find out on your system. And yeah good tip on relinking proxies. This works good when you want to sync only proxies with a service like lucid link or dropbox.
By default, Windows Intel utilizes the native H265 hardware acceleration. Nvidia also has them. For the RTX3000 series cards you have like 8 channels of H265 encode/decide available.
@@CreativeVideoTipsnot meaning to link bomb your great video but this video talks about what makes a good Resolve machine; ua-cam.com/video/tCv3vP6LxAs/v-deo.htmlsi=xGrRQ10x3tfCaMkX
In Windows it depends on your graphics card when it comes to H265 decoding. In addition the encoders on Mac also have ProRes built in. I wish the Proxy Generator allowed 4K resolution for monitoring through a Blackmagic card. At the moment you need to change resolution through the actual monitor settings.
I've been converting my h.264 10 bit originals to h.265 since the M1 came out! I don't even mess with proxies at all! I'm just upset that the A7SIII doesn't shoot 30p h.265 (but it does shoot 24p h.265). I'm so glad this is gaining traction!!
Chadwick I do have another question. I use a M1 Macbook Pro and making 265 files take an age. They take about four times it takes to make a ProRes or 264 file. To do for instance a 22 minutes programme takes 45 minutes or more. The original footage is some shot on a Canon and some on an iPhone in Apple ProRes 422. Do you or anyone have any thoughts on this?
Thanks for sharing your experience with us. I have a question. What would be your workflow if you shoot ProRes RAW in DJI Ronin 4D 8K to create proxies an edit y Davinci. Thanks!
@@amdmyoutube thanks for watching. I actually haven’t had a project with ProRes raw yet. However I’d probably just convert it to ProRes 4444 right off the start with apple compressor. Those would be my new master clips. Make prices from those.
What about when you start to add fusion fx or color grade the h.265? Does it break playback? I’d imagine prores would hold up better but I could again be wrong?
thank you for this. I noticed this, but I thought pro res was apple pro res and therefore I was doing something wrong in setup. speaking of setup. any suggestions for auto/metal, neural engine, auto cpu/gpu setting for Mac Pro 14 m3 ultra/max?
@@RalphKohler optimized media is legacy. It’s only good for the computer that made them. They are also generally slower to encode and take over resolve when making them. Proxies are better in every way.
About variable frame rate, turning a variable frame rate footage to one that is fixed frame rate, wouldn't that make the video out of sync with the audio when editing with that proxy?
I started to do this a few months ago, too. Used ProRex proxies as I thought they would be better and then by accident discovered that H265 looks way better with way smaller file sizes. I'm on an M1 Max Macbook Pro, so no problems with H.265 either, especially not in 1080p. I was just wondering, would you say that serious color grading is possible with those H.265 proxies? It is a real pain in the *** to upload 400-800GB of original footage to our colorist when it could be done with just a few gigs of proxy.
Thanks for the feedback. I think of the proxy generator choices - the color on that h265 is the best of those choices. However, they are very compressed. If the colorists is doing any secondary adjustments at all it will be very tough to tell how clean those are. Noise reduction is also not going to be visible. But - if it is a fairly simple primary grade, I think it can work. You just need to make sure to do the render with the original media linked. I have an upcoming tutorial that will show how I send raw and not deal with 400-800GB,
@@CreativeVideoTips Chadwick, thanks for your reply and your insights! Looking forward to this video - I am subscribed with notifications anyways. And let me grab this opportunity to tell you that I really appreciate the high quality content that you put out for us here. I was trying to do the same in the drone area, unfortunately my main job and my wife's video production business keep me too busy to keep up with UA-cam. Anyways, thanks again for sharing all your knowledge with us, you're a great teacher.
The only reason this is a viable option is due to hardware acceleration. But being your system plays back H.265 files as well as it does, why not just do VFX with ProRes HQ files and not worry about it?
1. Massive file sizes 2. Not all cameras shoot pro res 3. Compressed raw is better quality and more flexible than pro res. 4. It will still slow down after you add effects and colour. 5. Sharing camera originals online will be a massive pain
@@8lec_R 1. ProRes and compressed RAW can be storage hogs, but quality always trumps file size. 2. No they don't. But if you're shooting in H.265 10-but 4:2:2, then you don't need to convert to ProRes. 3. Compressed RAW only provides flexibility when you use it. H265 removes most of that flexibility. ProRes preserves alot more. 4. No matter what, adding effects will slow your system down. ProRes is designed to ease the load - even more sore with Apple silicon hardware acceleration. 5. Sending huge files is always a pain regardless. ProRes proxy is made for editing, not pixel peeping VFX work. For that, you're much better converting to ProRes HQ or just using the compressed raw in the timeline for the specific shots you require. This way, your VFX work is utilizing all of the available data.
@@avideomakr no. Quality doesn't trump size if you can't even store it. That is is the entire point of the video. And compressed raw is infinitely better than any prores codec. I'm mainly a colourist and I haven't worked with non raw files for a while due to the amazing flexibility of raw (compressed or uncompressed). A colorist will pick 12:1 braw over any flavour of pro res.
@@8lec_R This video is about using H265 as a proxy, but you keep saying that raw is better. I'm not arguing RAW isn't better, it most certainly is. But using H265 as a proxy to get critical work done, especially VFX work - as pointed out in this video - can and will lead to issues when you switch back to original files. You also can't say that RAW is the best while also saying you don't have enough space to store it or share it. You 👏 don't 👏 create 👏proxies 👏 only 👏 to 👏save 👏space - you use them to make editing faster, dependable, or more manageable when traveling. ProRes / DNx is an industry standard for a reason. They're visually lossless. ProRes Proxy isn't a format this creator should be using for the reasons he pointed out. It's not made for pixel peeping critical work. But ProRes and ProRes HQ blow H.265 out of the water in quality preservation, with RAW the only codec to beat it.
thank you for this. Why is the reason that in WINOWS the BM proxy generator only shoy H.265 @8bit and not @10bit, further more no ProRes 4422 10 bit 4:2:2 1080p is not showing?
The only reason I don't use the external Blackmagic Proxy Generator app is timecode. I am using audio-based timecode for my cameras - however, after updating the timecode from audio inside Davinci I cannot link the proxy files, because they have a different timecode. I would need to first update timecode from audio, then generate proxies which doesn't work with the external Proxy Generator. Do you know if there's a workaround?
I love resolve but whenever I bring In my footage at 4k 60 from my Sony zv e1 even smart proxy + optimized media + half resolution my timeline is so slow it’s impossible. Add any effects and it’s over.
Question - how many simultaneous streams can an Apple silicon chip decode? That may be an issue when using multiple streams (layers) of H265 proxies. Does anyone know?
@@cosmonaut1961 I have a video in the hopper about render cache. But h265 isn’t an option for that. If your on a Mac I use ProRes LB or windows DNXHR SQ those are about the same size. But the trick is using a 1080 timeline until the end.
@@CreativeVideoTips Thanks! I will keep my eyes open for that video! I have Mac Studio M2 Ultra, so in most of the cases I don't even need proxies, but after applying color grading and other FX - render cache is a must have. Okay, staying tuned 🤙 Thank you again!
Hey. I updated my DaVinci to the latest version, 19. I originally had the Studio 18 version, and I may have installed the free version 19. Now, when I download the Studio beta 19 version, the free version keeps opening! The issue now is when I go to export media is missing as the free version can't read the video files (Only the proxies). I never had this issue with Davinci Studio 18. Anyone can help with this. Super frustrating.
I never could use proxies with resolve because it doesn't play well with any change within clip attributes. Optimized media works, but then it doesn't have any h265 option.
Warning - if you change the frame rate of a clip in the clip properties (something users do for a variety of reasons), the external generated proxy will no longer link to the camera originals - the problem with the external proxy generator is that it is unaware of clip property changes made within Resolve - it only knows about the media properties of the camera original files.
really good question - I've tested a bit with the FX3 proxies. there are a couple of issues with those - 1, they are mp4, so they don't have a timecode track, 2 - they only have 2 channels of audio - sometimes you might record 4 channels with the FX3 and the proxy generator app will take care of that for you
If the original 4k files play smooth in half resolution without proxy, is it still necesary? o some effects can affect the performance of heavier codecs
@@sleepsoundly4728 for sure no need for a proxy then. You have a great computer. If you get stuck on a clip here or there use render cache or render in place.
@@CreativeVideoTips I tried editing with a heavier file and codec yesterday that wasn't smooth in any resolution and tried h265 proxy and it works in pc (normal specs ryzen 5) the video file is so small and totally smooth, thank you for this video, tried h264 just to see and it only look worse and is a heavier file, h265 from now on 100%
does this apply to windows as well? [guess you mentioned that, but if anyone else knows] resolve just kills my microsoft surface studio pro [wont even run simple projects and crashes using DNxHR proxies]. its running the ada2000 video card, 32GB ram. was looking to upgrade to a 64GB ram version with rtx4060 but not sure if it will improve Resolve. i also run a windows desktop with rtx2080ti which im looking at upgrading, and a m1 im thinking of turning into a resolve project server and getting an m2 for my audio studio. trying to get Resolve to work between all these machines and be able to jump on any at any time with a project. would really like to get into resolve but it just doesnt like my machines at all. premiere pro i can edit from original 4k files all day long easy peasy.... but it lacks some of the features im wanting to try in resolve.
@@seanfrancis7101 if you hit start already, sometimes it needs a little time to figure out how many files are in there before it starts. Another thing to try if the files are very burried in the root folder is to target the folder close the the actual folder the video clips are in.
@CreativeVideoTips Thank so much! I have a timeline with varying sources. I created proxies using the generator, when active, the r3d footage colors over saturate and footage with an aspect of 2880x2160, doesn't maintain the aspect ratio. Is it me, or is 19 not ready yet?
@OasisExplorer Actually, it is… It is just hidden. From the command line, run "resove -pg" (so depending where the resolve binary sits, possibly "/opt/resolve/bin/resolve -pg &"). There you have it, the proxy generator. The prores option is not there (just h264 and h265) and the sound will be PCM, but that is fine with me.
Or yet a better idea… Buy the new Mac M4 ultra when it’s released… I have the M1 Ultra and I can edit 8k video like butter. So why bother with proxies at all?
Price to performance when it comes to video editing is actually fine for a Mac Studio.It's not going to beat a 4090, but those also cost almost as much as an entire Mac Studio.
Depends on project, resolution and scope of video. Sure a lot of computers can edit simple projects without too much kerfuffle. But trying to optimize complex tasks too much makes them only work on certain configurations. Which means only a few people can benefit from that. So there's no point trying to optimize any software for some hardware that allows one to edit all files smoothly, you'll be stuck editing in a specific way and it won't work outside that specific configuration
@@grahamkay4034 well only because it is industry standart ? and if yes then why its becomes industry standart ? it is only because its like first NLE video editing program or because it has some unique features that other NLES don't have ?
@@TeamA-f2i Because it has always been developed around the needs of the high-end users. Premiere, Final Cut and Resolve (the edit side at least) cater for a broader user base. Premiere is far and away the most popular in terms of users, but most of these are outside of TV and high-end film production. The other reason to be talking about the DNx codecs is that they are available to PC users in Davinic Resolve, whereas ProRes isn't. The alternative intra codec for Resolve on PC is Go Pro Cineform.
Learn with Cutting Club ➡ creativevideotips.com/
00:00 - ProRes Proxies vs H.265 Proxies
00:55 - Why use Proxies to edit in Resolve?
02:05 - Reason 1 for H.265 Proxies
03:08 - Reason 2 for H.265 Proxies
04:24 - Reason 3 for H.265 Proxies
05:49 - Making Proxies for DaVinci Resolve 19
06:58 - Free Render Farm
07:48 - Using Proxies in Davinci Resolve
08:38 - Sending Cloud Proxies
This is awesome. I actually discovered this myself totally by accident. I always used ProRes proxies until a couple of months ago when I transcoded a bunch of iPhone footage from 30 to 24 fps and used H.265 as the codec, and was shocked at how good the timeline performance was. I’m definitely a believer now!
Yeah, I was honestly kind of baffled. I'm sure it's very computer-dependent, but I love that I save so much more space now.
So change my prores in settings to h.265?
@@VONonDemand If you mean the proxies codec in master settings, no unfortunately you don't want to use that proxy because it only creates 8bit H.265 proxies. The proxy generator creates 10bit.
@IDKOKIDK so change it back to prores 422 proxy?
Chadwick, thank you for your work and professionalism. Always a lot of useful information and easy presentation. Thank you!
YES! This was worth a YT video, Chadwick. Thank you. I've noticed that my M2 Mac Studio exports H.265 blazing fast in the Deliver page and I've been delivering a long-format TV show. I had the same hesitation to use H.265 proxies, but I'll definitely give them a try now. My remote editor is also using a Mac Studio. If you're looking for ideas for more videos, I'd love to hear your thoughts on the LucidLink workflow for remote editing. Thanks again.
Great tutorial Chadwick, I don’t make proxies at the moment for my wedding films, but if I ever need them, H.265 is the way I will go! Thanks for the tip! 🙏👍🤗
Chadwick thanks for the video I just wondered what happens when colour grading when you are using proxies? Also presumably you just deal with log footage the same as you would if editing the master material?
I personally only use proxies during the editing process and switch to the originals for colour grading.
Thanks Chad. Great informative and valuable video. 👍👍
again, great stuff! thanx for all the effort you put into these video's!
So much quality.. thank you 🙏🏼
What a great video! So much useful information! Thank you very much!
I opted for ProRes Proxy because I feared MP4 files might break my project. Cutting a doc with a cloud project and over 40 TB of RAW footage in various formats.
Considered h.265 because the file size is so great. But had some crashing and playback issues with anything that was either MP4 or h.264
I still want to try it on a smaller project. The proxy workflow is a fun discovery though. It was fun watching proxy files link up live on separate machines.
I made the switch earlier this year to H265 proxies on PC, after upgrading from Ryzen 5900x to 7900x. It's been very smooth with multicam editing (3-4 cams), with all of my footage on a 10Gbe qnap raid. Saving a ton of space (I'm shooting about 500 GB a week), and I don't have to worry about bandwidth on the network. I can even hop on the ipad and work off the wifi when I'm not in the studio.
Does the ryzen 7900 have a H265 encoder/decoder?
@Caged_Monuments-x6p I don't think any Ryzens have a dedicated h265 decoder, but if the system is fast enough and your proxies are HD it doesn't matter much.
Very informative and well executed video.
On PC with Intel Quicksync and Nvidia we have various H26x encoder/decoders ..
I also wanted to mention that there are some intra h265 codecs.. not sure what BMD makes here. - EDIT: you can use shutter encoder to read the GOP structure and its interframe.
I did quick test with BRAW to h265 using the proxy generator and it performs pretty well overall. Will stack some clips and try some effects and see how it holds up.. cheers! - EDIT : using some heavier transitions the h265 proxy still performs pretty well but not quite as smooth as BRAW
I too have been avoiding long gop proxies, and thought it odd that h.26x flavors were even options in the proxy generator. You've convinced me to switch! I guess BMD does have an idea what they are doing!
Yep same here - I wouldn't do this on an older machine, but if you can even swing a $700 mac mini I bet this would be fine.
I use Shutter Encoder as the BM app doesn't give any control for lower bitrate and even smaller file size
Shutter Encoder is one of those best secrets out there. Cool!
Made me curious, I'm gonna test it on PC. :) Just a quick note, it is not necessary to be the proxy files within the original footage media. You can move where ever you want, you just have to relink it later.
Please let us know what you find out on your system. And yeah good tip on relinking proxies. This works good when you want to sync only proxies with a service like lucid link or dropbox.
would also love to know how it went on PC!
By default, Windows Intel utilizes the native H265 hardware acceleration. Nvidia also has them. For the RTX3000 series cards you have like 8 channels of H265 encode/decide available.
@@CreativeVideoTipsnot meaning to link bomb your great video but this video talks about what makes a good Resolve machine; ua-cam.com/video/tCv3vP6LxAs/v-deo.htmlsi=xGrRQ10x3tfCaMkX
Excited to hear your results on PC. Keep us posted!
In Windows it depends on your graphics card when it comes to H265 decoding. In addition the encoders on Mac also have ProRes built in. I wish the Proxy Generator allowed 4K resolution for monitoring through a Blackmagic card. At the moment you need to change resolution through the actual monitor settings.
I've been converting my h.264 10 bit originals to h.265 since the M1 came out! I don't even mess with proxies at all! I'm just upset that the A7SIII doesn't shoot 30p h.265 (but it does shoot 24p h.265).
I'm so glad this is gaining traction!!
you made my day!!! , works great in windows too, amazing, thanks
Chadwick I do have another question. I use a M1 Macbook Pro and making 265 files take an age. They take about four times it takes to make a ProRes or 264 file. To do for instance a 22 minutes programme takes 45 minutes or more. The original footage is some shot on a Canon and some on an iPhone in Apple ProRes 422. Do you or anyone have any thoughts on this?
Great Tutorial, Never heard These Tipps before. thank you very much!!!! 🎉
Great explanation, nicely explained and thanks for testing!
Amazing! thanks a lot
What happens when you add noise reduction and motion blur to the footage tho? Render cashe as H.265?
7:25 great tips and other nuggets I didn’t know until now. Thanks!
Many thanks to you Chadwick this is an awesome tip!!!
I found that the different playback resolution also affects the colors and at times it may be confusing.
Always love your videos mate, thanks so much :)
Great. I feel like I could definitely use an indepth tutorial on proxies.
Thanks for sharing your experience with us. I have a question. What would be your workflow if you shoot ProRes RAW in DJI Ronin 4D 8K to create proxies an edit y Davinci. Thanks!
@@amdmyoutube thanks for watching. I actually haven’t had a project with ProRes raw yet. However I’d probably just convert it to ProRes 4444 right off the start with apple compressor. Those would be my new master clips. Make prices from those.
always the best training
Thanks so much for hanging out here
What about when you start to add fusion fx or color grade the h.265?
Does it break playback?
I’d imagine prores would hold up better but I could again be wrong?
thank you for this. I noticed this, but I thought pro res was apple pro res and therefore I was doing something wrong in setup. speaking of setup. any suggestions for auto/metal, neural engine, auto cpu/gpu setting for Mac Pro 14 m3 ultra/max?
thank you for watching - The defaults should be maxed out in resolve for your preferences, I would keep them like that.
@@CreativeVideoTips thanks for the fast response.
You didn't tell us why we should use proxies vs optimized media. I just assume I should do proxies, but I'd like to know why.
@@RalphKohler optimized media is legacy. It’s only good for the computer that made them. They are also generally slower to encode and take over resolve when making them. Proxies are better in every way.
About variable frame rate, turning a variable frame rate footage to one that is fixed frame rate, wouldn't that make the video out of sync with the audio when editing with that proxy?
I started to do this a few months ago, too. Used ProRex proxies as I thought they would be better and then by accident discovered that H265 looks way better with way smaller file sizes. I'm on an M1 Max Macbook Pro, so no problems with H.265 either, especially not in 1080p. I was just wondering, would you say that serious color grading is possible with those H.265 proxies? It is a real pain in the *** to upload 400-800GB of original footage to our colorist when it could be done with just a few gigs of proxy.
Thanks for the feedback. I think of the proxy generator choices - the color on that h265 is the best of those choices. However, they are very compressed. If the colorists is doing any secondary adjustments at all it will be very tough to tell how clean those are. Noise reduction is also not going to be visible. But - if it is a fairly simple primary grade, I think it can work. You just need to make sure to do the render with the original media linked. I have an upcoming tutorial that will show how I send raw and not deal with 400-800GB,
@@CreativeVideoTips Chadwick, thanks for your reply and your insights! Looking forward to this video - I am subscribed with notifications anyways. And let me grab this opportunity to tell you that I really appreciate the high quality content that you put out for us here. I was trying to do the same in the drone area, unfortunately my main job and my wife's video production business keep me too busy to keep up with UA-cam. Anyways, thanks again for sharing all your knowledge with us, you're a great teacher.
For windows you can also do the same. Your gpu or igpu needs to support hevc decode. Which most GPUs do
The only reason this is a viable option is due to hardware acceleration. But being your system plays back H.265 files as well as it does, why not just do VFX with ProRes HQ files and not worry about it?
1. Massive file sizes
2. Not all cameras shoot pro res
3. Compressed raw is better quality and more flexible than pro res.
4. It will still slow down after you add effects and colour.
5. Sharing camera originals online will be a massive pain
@@8lec_R
1. ProRes and compressed RAW can be storage hogs, but quality always trumps file size.
2. No they don't. But if you're shooting in H.265 10-but 4:2:2, then you don't need to convert to ProRes.
3. Compressed RAW only provides flexibility when you use it. H265 removes most of that flexibility. ProRes preserves alot more.
4. No matter what, adding effects will slow your system down. ProRes is designed to ease the load - even more sore with Apple silicon hardware acceleration.
5. Sending huge files is always a pain regardless.
ProRes proxy is made for editing, not pixel peeping VFX work. For that, you're much better converting to ProRes HQ or just using the compressed raw in the timeline for the specific shots you require. This way, your VFX work is utilizing all of the available data.
@@avideomakr no. Quality doesn't trump size if you can't even store it.
That is is the entire point of the video.
And compressed raw is infinitely better than any prores codec. I'm mainly a colourist and I haven't worked with non raw files for a while due to the amazing flexibility of raw (compressed or uncompressed). A colorist will pick 12:1 braw over any flavour of pro res.
@@8lec_R This video is about using H265 as a proxy, but you keep saying that raw is better. I'm not arguing RAW isn't better, it most certainly is. But using H265 as a proxy to get critical work done, especially VFX work - as pointed out in this video - can and will lead to issues when you switch back to original files. You also can't say that RAW is the best while also saying you don't have enough space to store it or share it. You 👏 don't 👏 create 👏proxies 👏 only 👏 to 👏save 👏space - you use them to make editing faster, dependable, or more manageable when traveling. ProRes / DNx is an industry standard for a reason. They're visually lossless. ProRes Proxy isn't a format this creator should be using for the reasons he pointed out. It's not made for pixel peeping critical work. But ProRes and ProRes HQ blow H.265 out of the water in quality preservation, with RAW the only codec to beat it.
Great fun video like always 👍🏻
thank you for this. Why is the reason that in WINOWS the BM proxy generator only shoy H.265 @8bit and not @10bit, further more no ProRes 4422 10 bit 4:2:2 1080p is not showing?
I understand that a proxy workflow is only suitable for editing. Color grading with proxies generated from BRAW files does not produce usable results.
The only reason I don't use the external Blackmagic Proxy Generator app is timecode. I am using audio-based timecode for my cameras - however, after updating the timecode from audio inside Davinci I cannot link the proxy files, because they have a different timecode. I would need to first update timecode from audio, then generate proxies which doesn't work with the external Proxy Generator. Do you know if there's a workaround?
I have the same problem and don’t know a solution
Ugh. I couldn’t load pocket 3 into proxy generator. Any suggestions?
What other downsides / pros are there to using the Resolve built in generator vs the sidecar app?
what about coloring "masking .. tracking..etc" do you make it with proxy ? or just editing ?
I love resolve but whenever I bring In my footage at 4k 60 from my Sony zv e1 even smart proxy + optimized media + half resolution my timeline is so slow it’s impossible. Add any effects and it’s over.
cool
Question - how many simultaneous streams can an Apple silicon chip decode? That may be an issue when using multiple streams (layers) of H265 proxies. Does anyone know?
Thanks for the video Chadwick! Would you use h265 for render cache too then? At the moment I personally use ProRes 422 Proxy. What would you say?
@@cosmonaut1961 I have a video in the hopper about render cache. But h265 isn’t an option for that. If your on a Mac I use ProRes LB or windows DNXHR SQ those are about the same size. But the trick is using a 1080 timeline until the end.
@@CreativeVideoTips Thanks! I will keep my eyes open for that video! I have Mac Studio M2 Ultra, so in most of the cases I don't even need proxies, but after applying color grading and other FX - render cache is a must have.
Okay, staying tuned 🤙 Thank you again!
Hey. I updated my DaVinci to the latest version, 19. I originally had the Studio 18 version, and I may have installed the free version 19. Now, when I download the Studio beta 19 version, the free version keeps opening! The issue now is when I go to export media is missing as the free version can't read the video files (Only the proxies). I never had this issue with Davinci Studio 18. Anyone can help with this. Super frustrating.
I never could use proxies with resolve because it doesn't play well with any change within clip attributes. Optimized media works, but then it doesn't have any h265 option.
Warning - if you change the frame rate of a clip in the clip properties (something users do for a variety of reasons), the external generated proxy will no longer link to the camera originals - the problem with the external proxy generator is that it is unaware of clip property changes made within Resolve - it only knows about the media properties of the camera original files.
Oh I thought prores codec was the smoothest one
Would it be better to make your own proxies or what about proxies made in camera using like a Sony FX3?
really good question - I've tested a bit with the FX3 proxies. there are a couple of issues with those - 1, they are mp4, so they don't have a timecode track, 2 - they only have 2 channels of audio - sometimes you might record 4 channels with the FX3 and the proxy generator app will take care of that for you
If the original 4k files play smooth in half resolution without proxy, is it still necesary? o some effects can affect the performance of heavier codecs
@@sleepsoundly4728 for sure no need for a proxy then. You have a great computer.
If you get stuck on a clip here or there use render cache or render in place.
@@CreativeVideoTips Thanks
@@CreativeVideoTips I tried editing with a heavier file and codec yesterday that wasn't smooth in any resolution and tried h265 proxy and it works in pc (normal specs ryzen 5) the video file is so small and totally smooth, thank you for this video, tried h264 just to see and it only look worse and is a heavier file, h265 from now on 100%
I’ve only ever made H.265 it’s much better 😊
I'm late to the game.
does this apply to windows as well? [guess you mentioned that, but if anyone else knows] resolve just kills my microsoft surface studio pro [wont even run simple projects and crashes using DNxHR proxies]. its running the ada2000 video card, 32GB ram. was looking to upgrade to a 64GB ram version with rtx4060 but not sure if it will improve Resolve. i also run a windows desktop with rtx2080ti which im looking at upgrading, and a m1 im thinking of turning into a resolve project server and getting an m2 for my audio studio. trying to get Resolve to work between all these machines and be able to jump on any at any time with a project. would really like to get into resolve but it just doesnt like my machines at all. premiere pro i can edit from original 4k files all day long easy peasy.... but it lacks some of the features im wanting to try in resolve.
it just says "waiting"? Did I do something wrong> Im in the BM proxy generator.
@@seanfrancis7101 if you hit start already, sometimes it needs a little time to figure out how many files are in there before it starts. Another thing to try if the files are very burried in the root folder is to target the folder close the the actual folder the video clips are in.
How much of this applies to Resolve on Windows?
How is the performance on a m1 ultra compared to the m2 studios?
@CreativeVideoTips Thank so much! I have a timeline with varying sources. I created proxies using the generator, when active, the r3d footage colors over saturate and footage with an aspect of 2880x2160, doesn't maintain the aspect ratio. Is it me, or is 19 not ready yet?
interesting - this isn't how its supposed to work - something might be buggy.
@@CreativeVideoTips Yeah, works using the menu option, hopefully will work out eventually. I see there’s already a topic created on the forum.
Unfortunately the proxy generator is not available for Linux. 😪
@OasisExplorer
Actually, it is… It is just hidden. From the command line, run "resove -pg" (so depending where the resolve binary sits, possibly "/opt/resolve/bin/resolve -pg &"). There you have it, the proxy generator. The prores option is not there (just h264 and h265) and the sound will be PCM, but that is fine with me.
🤘🙏
Or yet a better idea… Buy the new Mac M4 ultra when it’s released… I have the M1 Ultra and I can edit 8k video like butter. So why bother with proxies at all?
PC's have grapahic cards... You are using a Potato.
That's Basicly a Nuc not a real workstation.
Price to performance when it comes to video editing is actually fine for a Mac Studio.It's not going to beat a 4090, but those also cost almost as much as an entire Mac Studio.
I guess there is literally no system that can edit smoothly without proxy files?
Depends on project, resolution and scope of video.
Sure a lot of computers can edit simple projects without too much kerfuffle.
But trying to optimize complex tasks too much makes them only work on certain configurations. Which means only a few people can benefit from that.
So there's no point trying to optimize any software for some hardware that allows one to edit all files smoothly, you'll be stuck editing in a specific way and it won't work outside that specific configuration
@@8lec_R 4k from Sony a7iv. My dream is no proxy files it eats so much of my time.
@@stowgood can't you shoot internal proxies? I thought the newer sony cameras allowed for that
@@8lec_R ooo this might be the way to go
Not a very scientific test
why someone use Avid in 2024 ? just out of curiosity
@@grahamkay4034 well only because it is industry standart ? and if yes then why its becomes industry standart ? it is only because its like first NLE video editing program or because it has some unique features that other NLES don't have ?
@@TeamA-f2i Because it has always been developed around the needs of the high-end users. Premiere, Final Cut and Resolve (the edit side at least) cater for a broader user base. Premiere is far and away the most popular in terms of users, but most of these are outside of TV and high-end film production. The other reason to be talking about the DNx codecs is that they are available to PC users in Davinic Resolve, whereas ProRes isn't. The alternative intra codec for Resolve on PC is Go Pro Cineform.