I made this video using the Sony in camera proxies, so I know it worked before when I made the vid. Not sure if you're having an isolated error or if it's some other issue
@deanHarringtonimages good image out of it, very flexible files. Good thinking to go with Leica L mount instead of EF to open up lens options. I think it will be a big seller.
@@TonyDae I agree, it's going to be a winner considering the anamorphic aspects and full-frame plus, I think this might be a good stills camera as well.
In the futur there will always be Discussions for which purpose you need Proxies. The new Proxy-Generator in DVR 18b only allows H264/H265 Proxies, because its Focus is on fast online cooperation.
@@TonyDae Might be. But i think on the Cloud BM tries to avoid big files. The funny thing about the Proxy-Generator is, that thea use a constant Bitrate on H264 8 bit4:2:0 1080 / H264 half resolutuion / H265 10 bit 4:2:0 1080p. That means fielesice is constant.
Resolve free version shows my FX3 files as offline. I can hear the audio but I don't see the video. So i can't generate proxies in Resolve if it can't see them. Would the full program show the FX3 clips? Any plugin or software available?
Thanks for this. When moving to color grading or delivery, should we unlink the proxy media? Or will Resolve automatically export the higher res files?
If I use the Sony camera generated proxies will Resolve automatically link the original media with the Sony proxies (someone else mentioned that the Sony proxy naming convention does not work for Resolve in an older version and that they had to rename all the proxy files…)?
I was able to do that before without having to rename. Not sure which older version somebody else used that was a problem but I haven't had any issues.
Great post mate...! I am a bit confused though. Davinci can create proxies in 2 different ways: 1- Ingesting using the proxy generator & 2- as you did from within the media pool, (after the files are brought to DAvinci), now.. When done from the media pool, the proxy formats available in the 'window" from "master Setting" option...are way more than when using the "generator" I suppose I should set both options: ingesting and from within media pool (for consistency's sake I guess?), with the same formats? in my case ProRess 422. You did on your video some kind of "linking" cutting & pasting the "link"... but when I do it as you did, (from within the media pool), the clips are already Proxies: they have an icon that show so. I think I don't need to link anything ... (unless I am wrong), what I can do yes, is "unlink" if I need or want to work with the "original" footage. The other point is within the Optimized Media Window where we have the proxy choices... it says: 1-Media resolution:Choose automatically 2-Proxy media format: (in my case) ProRess 422 3-Optimized Media Resolution: choose automatically and the last two 4-Optimized media format: & 5-Render Cache Format.... should the last two options be the same as the #2 option, "proxy Media Format"? (which again, in my case is ProRess422) Sorry for the long message! cheers! ;)
Good question , join the discord and maybe I can help with your specific issue as it will be easier to have a back and forth discussion. I think this video was made with a previous version of resolve that may not have had two ways of generating proxies as indicated
@@TonyDae hey thanks for your answer mate! I know I am asking too much now... but hopefully you could make a video not just about the proxies but also how to set up the options in the project window...? You explain things in a very detailed way.. and that is super important & helpful! Thanks!
@@wildpatagoniafilms16 Sure I can look into making a video. I suggest joining the discord so that we can deal with your issue on a more personal level and get more immediate results. Link should be in ABOUT page.
Would you suggest this workflow for chroma keying when shot with braw? Back in the days of gh4 I used to transcode, in Pr. Will Resolve handle braw files better than ProRes or not? Tried out some keying in fusion delta and it takes way too long, unusable to edit and render, not even close to Pr ultra. Also, would the keying process quality be affected by media type? Like edge noise etc?
Very useful for my nikon Z9.... With the new firmware 2.0 update it creates a proxy nice 1080 120p in camera... when shooting nikon raw Thank you you just help me get it working in davinci I'm a little dumb found it to see how well it's working Thank you
thanks for your video, one question that could seems silly, is it safe to do advanced color grade on proxy files or is it better to switch to source on this step? Thanks.
@I Beceri Videoludici It depends on what you mean by advanced. I will say that the in camera HD h265 proxies and the 10bit HD HQX proxies that I use are really good for the kind of grading that I do and if I zoom in a bit, I can only see a sharpness and detail difference (that will matter in a 4k render but not nearly as much in HD render) when swapping back and forth, meaning that color won't be too much of an issue during the grading process. The products I make are not going to be going on a huge movie screen, but usually played back on a handheld device or computer monitor anyways so there's never much of a need for me to get that critical. I almost never used HSL keying or anything like that... I use curves, color warper, power windows, some effects like contrast pop, textures (grain, sharpening), and denoise with an occasional use of lens blur options. The denoising and textures for me are kind of hardwired... I know the exact setting I want for each codec and ISO I tend to use so I don't need the source for this purpose except on render. If you need to get into denoising some bad footage, getting proxies that are really close to the source will always be better than down sampling a 4k to a low quality HD proxy. You can, if grading is more important and the proxy choices don't work great for you, use the "optimized media" option instead, which is intended to provide better results for color grading. As is the case with any technique shown in a video like this, the best way to know if it will work for your purposes is to try it out. Please feel free to reach out via email with any particular issues you may have.
@@TonyDae Thanks Tony, very helpful, i’ll give it a try cause until now i feared to use them for this reason. (by the way i’m not a filmaker but i like to achieve the best quality i can reach, for advanced i mean when you go further than a primary correction maybe using color managed workflow)
You can choose whether to use the proxies for the render or not. What this means is if you don't check the 'use proxies' button Davinci will take long to render because it will take all of your edits and grading and applies them to the original footage during the render process. However if when setting up your proxies you chose a codec that is as close to the original quality or better you can choose to use those proxies for the final render. In this case and probably yours and mine "DNxHR HQX" is ideal because it is 12 bit 422 4K codec. So there is more than enough room for all of the information in your original 10 bit 422 files from the camera, and some. If you use a lesser quality codec like say DNXHR HQ that is only 8 bit 422 1080p which will speed up your editing but you will need to swap out that codec for original file off the camera at the point of render, if you want to put back in that original resolution and quality. This also means that you will effectively be rendering twice. So to cut a long story short and make it easy. If you shoot 10-bit 422 in camera. 1: Just set your proxies to be "DNxHR HQX" which is (12-bit 422 4K) codec. 2: Then when you are finished editing remember to: 'check on' the '''Use Proxies''' button in your render settings on the deliver page. Better still do what I've de and make a preset. 3: Turn on 'SMART' render Cache on the timeline. 4: For good performance, it's wise to have the Project Database and Media on different drives. This is standard industry practice to stop read/write bottlenecks. Then not only will your editing be fast and smooth but so will your final render time be much faster. I find render times are reduced by around 30%-50%.
@@JWS1968 "You will effectively be rendering twice" explain? If you are talking about render cache using proxy instead of original, you may be right there. Also yes, 4K would essentially negate the need for Resolve to point from proxy to source on render, however, it also balloons the file size and 4k takes longer to decode than HD. The fastest codec, in absolute terms, would generally be lower pixel count with all else equal. It would be a trade off.
So just to clarify (I'm on PC at the moment so know nothing about Apple.) are you saying that when you edit a 10-Bit 422 H264 / H265 file straight off the camera, you don't have to transcode? At all!! and are we talking about the Apple M1 Mini or something else?
any modern GPU has various hardware h264 and h265 de and encoders (f.e. Nvidia cards can do 8k h265 10bit 4:2:0 and 4:4:4 since the 10xx series cards, with the bigger cards having even multiple NVENCs and of course more raw power) and the current 4000 series cards added AV1 encoding in hardware. so this is not typical only for apple. what apple does is archieving quite some nice performance with very low power draw and even cheaper price in comparision in some cases.
@@TonyDae I was working with a friend on some projects and ran into an issue that I was exporting in prores 422 HQ I am a Mac user and my friend uses a PC. Both perfectly capable in use pro res interms of power: but one could not. And I didnt know an alternative at the time. Shame
1: I always work off my local drives and store on external drives. Hold over from working in visual effects. 2: Resolve nests files in a particular folder even when I change it.
Do you have an idea how I can relink proxy files if they are generated in the same folder? If I just hit relink it will automatically choose the same files again.
@@TonyDae Yes that would be a possibility but I don't want to do that for hundreds of individual clips. Do you know any programs which could automate this?
Select a different file to put your proxies in when you generate them. It needs a matching file name to properly match the proxy to the original source. You should always have proxies and originals in different locations regardless of your workflow.
Which camera? Fx3 generates proxies in a separate folder. That's kind of a pain if they don't save separately. Maybe you can set up the camera to save proxies to a different card.
![KSI - Thick Of It (feat. Trippie Redd) [Official Lyric Video]](http://i.ytimg.com/vi/tXEPbotEjZE/mqdefault.jpg)
This video is clear, concise and well presented! Thank you so much for making this!!!
You're are awesome with teaching helpful stuff.... you're just the savior of the day
This video brought me to your channel. Really helpful!
When I link to Sony generated proxies, I get an invalid proxy selected error. It says I have to select a clip with matching frame rate and time code…
I made this video using the Sony in camera proxies, so I know it worked before when I made the vid. Not sure if you're having an isolated error or if it's some other issue
Good video Tony. What do you think about the new Blackmagic 6k full-frame camera?
@deanHarringtonimages good image out of it, very flexible files. Good thinking to go with Leica L mount instead of EF to open up lens options. I think it will be a big seller.
@@TonyDae I agree, it's going to be a winner considering the anamorphic aspects and full-frame plus, I think this might be a good stills camera as well.
In the futur there will always be Discussions for which purpose you need Proxies. The new Proxy-Generator in DVR 18b only allows H264/H265 Proxies, because its Focus is on fast online cooperation.
If it only allows h264/5, that seems a mistake. You should at least have the option of using other standard intermediate codecs.
@@TonyDae Might be. But i think on the Cloud BM tries to avoid big files. The funny thing about the Proxy-Generator is, that thea use a constant Bitrate on H264 8 bit4:2:0 1080 / H264 half resolutuion / H265 10 bit 4:2:0 1080p. That means fielesice is constant.
Great work
What's awful is premiere pro works flawlessly without codecs. Resolves seizes up so really want to know best proxy to be able to use it.
Great Vid!!! Thanks
Life saver 🛟
Resolve free version shows my FX3 files as offline. I can hear the audio but I don't see the video. So i can't generate proxies in Resolve if it can't see them. Would the full program show the FX3 clips?
Any plugin or software available?
Thanks for this. When moving to color grading or delivery, should we unlink the proxy media? Or will Resolve automatically export the higher res files?
Resolve automatically relinks to source instead of proxy on render.
what about in camera proxy in sony camera? i searched vid on youtube but couldnt find any. i m new to davinci ,
Hey Tony! I appreciate your insight! Does this work on free version of davinci resolve? Thank you!
If I use the Sony camera generated proxies will Resolve automatically link the original media with the Sony proxies (someone else mentioned that the Sony proxy naming convention does not work for Resolve in an older version and that they had to rename all the proxy files…)?
I was able to do that before without having to rename. Not sure which older version somebody else used that was a problem but I haven't had any issues.
how to toggle proxy quicky not my clicking on i prefered camera orignal ?
Great post mate...! I am a bit confused though. Davinci can create proxies in 2 different ways: 1- Ingesting using the proxy generator & 2- as you did from within the media pool, (after the files are brought to DAvinci), now.. When done from the media pool, the proxy formats available in the 'window" from "master Setting" option...are way more than when using the "generator" I suppose I should set both options: ingesting and from within media pool (for consistency's sake I guess?), with the same formats? in my case ProRess 422. You did on your video some kind of "linking" cutting & pasting the "link"... but when I do it as you did, (from within the media pool), the clips are already Proxies: they have an icon that show so. I think I don't need to link anything ... (unless I am wrong), what I can do yes, is "unlink" if I need or want to work with the "original" footage. The other point is within the Optimized Media Window where we have the proxy choices... it says: 1-Media resolution:Choose automatically 2-Proxy media format: (in my case) ProRess 422 3-Optimized Media Resolution: choose automatically and the last two 4-Optimized media format: & 5-Render Cache Format.... should the last two options be the same as the #2 option, "proxy Media Format"? (which again, in my case is ProRess422) Sorry for the long message! cheers! ;)
Good question , join the discord and maybe I can help with your specific issue as it will be easier to have a back and forth discussion. I think this video was made with a previous version of resolve that may not have had two ways of generating proxies as indicated
@@TonyDae hey thanks for your answer mate! I know I am asking too much now... but hopefully you could make a video not just about the proxies but also how to set up the options in the project window...? You explain things in a very detailed way.. and that is super important & helpful! Thanks!
@@wildpatagoniafilms16 Sure I can look into making a video. I suggest joining the discord so that we can deal with your issue on a more personal level and get more immediate results. Link should be in ABOUT page.
Would you suggest this workflow for chroma keying when shot with braw?
Back in the days of gh4 I used to transcode, in Pr.
Will Resolve handle braw files better than ProRes or not? Tried out some keying in fusion delta and it takes way too long, unusable to edit and render, not even close to Pr ultra.
Also, would the keying process quality be affected by media type? Like edge noise etc?
Very useful for my nikon Z9.... With the new firmware 2.0 update it creates a proxy nice 1080 120p in camera... when shooting nikon raw
Thank you you just help me get it working in davinci
I'm a little dumb found it to see how well it's working
Thank you
Good to hear that this helped you out! Would love to get some z9 raw files to play with. :D
Am I correct in assuming that when you are delivering the project, Resolve will automatically use the original files for rendering?
Yes it does. I tried to include some titles there indicating that resolve automatically links to the source on render
@@TonyDae Thanks.
Can you color grade efficiently using proxies ? or it will not work the same way as with the original files ?
You'll want to generate optimized media for grading.
where can i find the project settings? please
thanks for your video, one question that could seems silly, is it safe to do advanced color grade on proxy files or is it better to switch to source on this step? Thanks.
@I Beceri Videoludici
It depends on what you mean by advanced.
I will say that the in camera HD h265 proxies and the 10bit HD HQX proxies that I use are really good for the kind of grading that I do and if I zoom in a bit, I can only see a sharpness and detail difference (that will matter in a 4k render but not nearly as much in HD render) when swapping back and forth, meaning that color won't be too much of an issue during the grading process. The products I make are not going to be going on a huge movie screen, but usually played back on a handheld device or computer monitor anyways so there's never much of a need for me to get that critical.
I almost never used HSL keying or anything like that... I use curves, color warper, power windows, some effects like contrast pop, textures (grain, sharpening), and denoise with an occasional use of lens blur options. The denoising and textures for me are kind of hardwired... I know the exact setting I want for each codec and ISO I tend to use so I don't need the source for this purpose except on render. If you need to get into denoising some bad footage, getting proxies that are really close to the source will always be better than down sampling a 4k to a low quality HD proxy.
You can, if grading is more important and the proxy choices don't work great for you, use the "optimized media" option instead, which is intended to provide better results for color grading.
As is the case with any technique shown in a video like this, the best way to know if it will work for your purposes is to try it out. Please feel free to reach out via email with any particular issues you may have.
@@TonyDae Thanks Tony, very helpful, i’ll give it a try cause until now i feared to use them for this reason. (by the way i’m not a filmaker but i like to achieve the best quality i can reach, for advanced i mean when you go further than a primary correction maybe using color managed workflow)
I exclusively use color managed workflows. You'll be fine with proxy
You can choose whether to use the proxies for the render or not. What this means is if you don't check the 'use proxies' button Davinci will take long to render because it will take all of your edits and grading and applies them to the original footage during the render process. However if when setting up your proxies you chose a codec that is as close to the original quality or better you can choose to use those proxies for the final render. In this case and probably yours and mine "DNxHR HQX" is ideal because it is 12 bit 422 4K codec. So there is more than enough room for all of the information in your original 10 bit 422 files from the camera, and some. If you use a lesser quality codec like say DNXHR HQ that is only 8 bit 422 1080p which will speed up your editing but you will need to swap out that codec for original file off the camera at the point of render, if you want to put back in that original resolution and quality. This also means that you will effectively be rendering twice.
So to cut a long story short and make it easy. If you shoot 10-bit 422 in camera.
1: Just set your proxies to be "DNxHR HQX" which is (12-bit 422 4K) codec.
2: Then when you are finished editing remember to:
'check on' the '''Use Proxies''' button in your render settings on the deliver page.
Better still do what I've de and make a preset.
3: Turn on 'SMART' render Cache on the timeline.
4: For good performance, it's wise to have the Project Database and Media on different drives. This is standard industry practice to stop read/write bottlenecks.
Then not only will your editing be fast and smooth but so will your final render time be much faster. I find render times are reduced by around 30%-50%.
@@JWS1968 "You will effectively be rendering twice" explain? If you are talking about render cache using proxy instead of original, you may be right there.
Also yes, 4K would essentially negate the need for Resolve to point from proxy to source on render, however, it also balloons the file size and 4k takes longer to decode than HD. The fastest codec, in absolute terms, would generally be lower pixel count with all else equal. It would be a trade off.
what i dont understand, my SONY A7s III can capture proxies in XAVC HS which is also H.265, why? 😵💫😵💫😵💫😵💫😵💫
It's HD and 420 so it's a lot easier to use than h265 422 but I get you.
But for instance, the new M1 apple slilcon has hardware dedicated to 264 265 and so you don't have to worry so much.
If you don't have an issue with your codecs on your particular machine, then you won't need to use proxies.
So just to clarify (I'm on PC at the moment so know nothing about Apple.) are you saying that when you edit a 10-Bit 422 H264 / H265 file straight off the camera, you don't have to transcode? At all!! and are we talking about the Apple M1 Mini or something else?
@@JWS1968 I am saying you still should but Apple Silicon has hardware for those codec.. you need to do some research its all out there easy to find.
any modern GPU has various hardware h264 and h265 de and encoders (f.e. Nvidia cards can do 8k h265 10bit 4:2:0 and 4:4:4 since the 10xx series cards, with the bigger cards having even multiple NVENCs and of course more raw power) and the current 4000 series cards added AV1 encoding in hardware. so this is not typical only for apple. what apple does is archieving quite some nice performance with very low power draw and even cheaper price in comparision in some cases.
Any thoughts on Pro Res as a proxy format?
I heard of pro res 422LT as designed for proxy media
Edit: it is actually called prores proxy, not LT. Whoops
Yeah that works fine. Dxhr and prores are similar, Windows users unfortunately don't get access to prores encoding.
@@TonyDae I was working with a friend on some projects and ran into an issue that I was exporting in prores 422 HQ
I am a Mac user and my friend uses a PC. Both perfectly capable in use pro res interms of power: but one could not. And I didnt know an alternative at the time.
Shame
Why are you generating proxies to your c drive?
1: I always work off my local drives and store on external drives. Hold over from working in visual effects.
2: Resolve nests files in a particular folder even when I change it.
and what about 8bit is DNxHQX is good???
It's a proxy for editing. All that matters is it's fast. The program will switch back to source when you render so higher quality isn't necessary.
thanks! quite shit system compared to premiere on this front but thanks for explaining!
Do you have an idea how I can relink proxy files if they are generated in the same folder? If I just hit relink it will automatically choose the same files again.
Put the proxies in a separate folder.
@@TonyDae Yes that would be a possibility but I don't want to do that for hundreds of individual clips. Do you know any programs which could automate this?
Select a different file to put your proxies in when you generate them. It needs a matching file name to properly match the proxy to the original source. You should always have proxies and originals in different locations regardless of your workflow.
@@TonyDae Yes that makes sense. The camera generates the proxies by itself in the same folder, I need to check if I can change that.
Which camera? Fx3 generates proxies in a separate folder. That's kind of a pain if they don't save separately. Maybe you can set up the camera to save proxies to a different card.