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What's the camera of the future?
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Proxies are smaller, low-resolution versions that serve as a substitute for the original camera media when your computer is not powerful enough to smoothly handle high-resolution material or demanding codecs. Since the Final Cut Pro 10.4.9 update, a few things have changed regarding proxies. I’ll show you a few new ways to work with proxies in Final Cut Pro in this Quick Tip video.
You have terabytes worth of footage, but don’t want to schlepp your RAID to the home office to edit? Got 8K Red RAW files and your 2016 MacBookPro plays them back like a slideshow? Do not despair! Watch this Quick Tip on how to work with proxies in Final Cut Pro.
Working with proxies still seems to be a bit of a can of worms for most semi-pro editors and/or one-man-band filmmakers. I hope the above video could clarify a few things, as using a decent proxy workflow can really simplify the whole process, especially in times of gigantic media files.
So how to deal with proxies, anyway? And how Final Cut Pro has changed the way to work with them? The list below shows a few key aspects concerning proxies:
In summary, this new workflow has greatly simplified the somewhat tedious process of working with proxies. This way you can focus on the creative part without having to deal with technical aspects more than necessary, which is always welcome!
Please let us know, if you like these Quick Tips. Don’t hesitate to ask questions, chime in with you own know-how or submit your request for a topic we should do a Quick Tip Video about.
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Florian Gintenreiter is an award winning freelance cinematographer who learned his craft exposing photochemical film. Now he is bringing the same care and diligence from shooting film into today's fast moving digital world.