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When checked and done, we are ready for the magic,.

Drag the file to the time line and do your “edits”.

Import the low res HD file to edit and place in the project window.

That’s ok, just expand the video to fit if you wish. The smaller frame size of the cloned file will show up as a small window in the preview screens.

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Create a new project for the HD project in Premiere – use the actual full frame preset. Use the same filename as the hi res file – just to keep things manageable for large projects

Save the the cloned file into its working folder just created.

Export the low res clone file in the Media Encoder Queue.

You would like to see the color correction and compositing changes at least for the bit rate setting chosen. It would be a good idea to use a smaller resolution like a quarter size and a bit rate that gives reasonable video quality – 6Mb/s to 8Mb/s would do. It doesn’t matter the final frame size or the codec used, just choose one that allows frame size changes and variable bit rates. Import the original hi res file into the Media Encoder and set in low res values for export.

create the low res equivalent cloned file – use Adobe Media Encoder to do this.

create a working folder for the low res cloned video file(s).Here’s how its done, assuming the raw hi-res uncompressed file is created and ready for edit: Hardware assist using Adobe Mercury playback Engine or an approved CUDA based graphics card makes rendering very fast. Crunch time is still and issue, but the editing cycle is a lot faster, which is why the proxy thing is great if you have the clunky CS4 version. Just do your edits on the native uncompressed YUV HD file and export/render/transcode the file format of choice directly. If you have CS5 operating on a fast computer platform in Win 7 and above, you don’t need to do this proxy stuff. I did not check if the other more main stream consumer NLE’s like Sony Vegas Pro, Pinnacle Studio etc., have this feature. The proxy technique will work in Adobe Premiere CS4 and CS5 (CS3 is possible but needs attention). Hint, don’t use AVI, use Quicktime with the same 8bit or 10bit YUV 4:2:2 attributes and v210 flavour, goes two to three times faster. A 400ft real of film for example, digitized in either 8bpp or 10bpp HD YUV 4:2:2 AVI form, rendered after edit can take up to 12 hours (Windows 7 64bit, multi-core 3GHZ, 12GB RAM) to complete. Of course you can’t escape the final render time for the HD file which can be many hours. All of the edit attributes (stored as meta tags and other functions) of the “edit”, is applied to the uncompressed file, which can then be rendered in its final form with all of the edits, or further tweaked with finer edits. Once the edit is done – this includes the regular raw edits, any compositing, special effects, transitions, titles, synchronizing audio tracks, etc., the chopped up and modified low resolution file is replaced by the higher quality “unedited” equivalent on the time line. It is faster and less frustrating to the video editor. Then an average powered computer platform can work in real-time to preview and help when editing and correcting your work. It simply means that rather editing the large uncompressed files on the NLE timeline, use a lower resolution clone. Did I mention slow as molasses in January. Why do this? Uncompressed HD video files by nature are large and as such present a data handling problem on most computer platforms particularly when editing them. When working with uncompressed YUV video files like we do at HomeDVD, we use a technique called proxy editing.

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Posted by Bill on in Tech Tips | 27 comments Offline Proxy editing for High Definition Video Creating Proxy Files in Adobe Premiere CS4 and CS5