The Proxy Workflow
I'm going to switch over and talk a little bit about the proxy and the ingest. And you can do this when you generate or create a new project. You can also do this in-process while you're working on a project. So, you can find this in a couple of locations. If I go up here under project settings. Okay? Which is the same thing you'll hit when you say make new project. You get this dialog box. And we saw this briefly. If I've got to ingest settings. I have an option. I'll turn this on. And this will work for everything you ingest of course, after you turn this on. If I want I can just have it copy the files, and copy is really useful, if you're using any kind of a camera card. So by default, and I try to impress upon people the importance of this in every class. When you're working with a camera card, copy the card off to the hard drive, before you hit the import key because Premiere does not move the media. Okay? It leaves it where it is. You eject that card, your camera media goes offli...
ne. You erase the card. It is gone forever. But, if you turn this on in ingest settings and have copy turned on, it will actually copy all the media, and you can tell it where it's going to copy that media to. The default is the same as the project, but you could choose a specific media location. You have a couple of options here. Basically, you can do checksum to make sure that, as it's copying it's verifying that everything is actually coming across. Sometimes if you just garb it and move it via the finder or explorer, if the machine crashes halfway through, it doesn't know if it's copied everything or not. So this is basically it's called a checksum. It's validating the fact that you're being successful and there is no hiccup when it copies stuff, and that's just moving things from its location. You can also do this if its on an external hard drive. So that's some of the options for copy. You can transcode media, okay. So maybe you want everything to be a certain format. You want it all to be Apple ProRes because you have a slower machine and you don't want it to be a highly compressed flavor and you can go ahead and you can change that, okay? You can also create ingest presets in Adobe Media Encoder, and bring those in if you have something very specific. The third option, and the fourth option, I'm going to actually cover these both together is to create proxies. So what this will do, is when you're ingesting it, it is taking the media, it's not copying it, because we didn't do copy and create proxies, just create proxies now and it is going to transcode them to another flavor. Usually a smaller frame size and a less demanding codec. It has a bunch of defaults. I actually create my own extra one because the one I like doesn't exist. So, these are all different flavors, and by the way if you're on windows, you will not see ProRes as an option. Macs can make ProRes because Apple invented ProRes and has not licensed it to the Windows machine. But you'll probably use CineForm, which is a pretty equivalent to that. There is a couple of new ones coming out, H.264. These are just, lower stress on your computer codecs and than these are smaller sizes. They pick this because this was a multiple variation of, 960, that's 1920. I don't know how they got some of these. I do know how they got some of these. But what I like, because I'm using sometimes 4k footage. I'm using ultra high definition, which is 3840 x 60. Four times the resolution of high def. I like to actually have my proxy to be 1920 x 1080. So it's still the same exact format, if I needed to throw it into a 1920 X 1080 timeline I'm good. So, I just, I did, make that in Adobe Media Encoder, which comes with Premiere. It's one of the apps you get, when you get the suite. And I save that and I add that as an ingest preset. You can do whatever flavor you want. You can do some reading on this, but this is really nice. So this converts it and the other option is, you can also create proxies and copy the original media if it happens to be on a card or another drive, and you want it local. So once you've done that. You can start editing and you can toggle back and forth, between that little button you created, or a keyboard shortcut, or a menu dropdown, between using the original media, which is maybe harder for your computer to process, or harder for your hard drives to push through the pipe, and you can say, just use the proxies, and then when you're ready to put a high quality output, or you want to just check the nuances, of do I have a really clear image? Do I have any artifacts? How is the color correction working? You can just toggle to the full high resolution stuff. And then of course, you can choose where all of these land. When you have this checked and you import something, the moment you import, you'll actually see Adobe Media Encoder launch. And it's going to be creating those proxies in the background. So it'll just use whatever cycles of the CPU that are not being used. And in the background will create your proxies and eventually you'll have all your proxies, but you know there is some time to create that. And that is how it works. If I created a new project, I would see that same dialog box, now that you know where to look for it. And if I go into my preferences. I believe, that there should be one for ingest settings, I could be making this up in my head. I think it's under capture, Could be making this up in my head but I thought this was one of the places. But you can definitely get if from project settings, and when you create a new project. So if I go ahead and say, I want a new project, File New Project. It's going to make sure I save this old one. You get this dialog box. Right over there on the right. Ingest settings. Boom. Once you set it, it tends to remember the last set of settings you have, which means that if you set it and you forgot it's there and then you go to ingest a big folder of things, and suddenly Adobe Media Encoder pops up, you're like, face palm No, no, no. That was the last application. I don't need it for this one.