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As I’ve previously noted, Continuum FCP differs from the other versions of Continuum and is sold as a separate product. It runs in many of the popular post production applications, including Avid Media Composer, Adobe Premiere Pro and After Effects, Blackmagic Design DaVinci Resolve, and Apple Final Cut Pro and Motion. I hope these pointers will be a useful guide the next time you decide to use a proxy media workflow.īoris FX Continuum Complete has been their flagship product for decades. Like the other two NLEs, you can do this as a batch function by navigating to the Proxy folder. However, if you render to a single, unified Proxy folder, then you’ll need to manually relink the proxy files to the originals in the Media page. When you transcode externally with Compressor or another app, then media placed into individual Proxy subfolders will also automatically link inside Resolve. When both types of media are present, then the Resolve clip icons reflects that duality. In fact, the Proxy subfolders don’t even show up in Resolve’s browser when searching for media. When that condition exists, then original clips added into the Media page automatically include links to both the original and the proxy media. The default location when using the Blackmagic Proxy Generator app or Resolve’s internal routine places a Proxy subfolder inside the folder of each roll of original media. You can either have one single Proxy file for all renders or have a separate subfolder called Proxy within each camera roll folder.ĭealing with externally-created proxies in different editing applications If you have multiple camera file folders – organized by camera roll, day, camera model, etc – then there are two options. This can be anywhere you like, but it’s best to have it near your original camera files.
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When you transcode proxy media files in Compressor or any other encoding application, it’s best to render them into a folder specifically called Proxy. The point is to have proxy media with smaller file sizes, which play back more efficiently on your computer. You can have 4K/UHD ProRes HQ originals and HD H.264 proxy media (I prefer ProRes Proxy). Likewise, the codecs do not need to match. The embedded metadata in the proxy file informs the NLE so that the correct size is maintained when switching between the two. For example, if you start with 4K/UHD original media, but you create half-size HD proxies. Software “toggles” in the application can seamlessly swap the link from one type of media file to the other.įrame sizes can be smaller, since that’s an aspect of any proxy workflow. When proxy media has been created, then the media clip in the NLE’s browser can actually link to both the original camera file, as well as the proxy media file. Nearly all editing applications enable users to edit with lightweight proxy media in lieu of heavier, native camera files. Proxy media is usually lightweight, more highly compressed, and of a lower resolution than the original media. There are many reasons for creating proxy media – portability, system performance, remote editing, etc. For sake of simplicity I’ll refer to original media from here on, but understand that it could be optimized media or original camera files. When you create optimized media, that is often the media used for finishing instead of the original camera media. For example, you might convert a media file made up of an image sequence into an optimized movie file using one of the ProRes or DNx codecs. You may decide to create optimized media when the original media’s codec or file format is too taxing on your system. It links to potentially three different assets on the hard drive – the original camera (or sound) file, optimized media, and/or proxy media.
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But that clip is only a facsimile of the actual media. Editors often think of the clip within the edit application’s browser as the media file.