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I am currently working on a web series where we are shooting in RAW image sequences with a Black Magic Design Ursa Mini 4k. We have a mixed post production environment where the editor is working in Premiere CC on a Mac and I'm doing the final color pass on a PC with Resolve 14, using a Final Cut XML as our intermediary timeline format.

Since the editor's disk space and processing power is limited and he is working in Premiere, working with the native RAW image sequence is not an option. I need to output a proxy that he can use for editing that I can then import back into Resolve. We'd previously been using a manual process with Resolve 12.5 on his computer to convert to a ProRes video, but this process was very slow and inefficient, both in terms of manual effort and in terms of the processing power I have on my systems vs his.

I need to determine a workflow to encode the RAW sequences in to a good proxy option. I'm currently leaning towards DNxHD for the proxy format, but I'm open to any good option for NLE use. Preferably I'm also down-converting to 1080p for editing to give the editor an easier time working with the footage. I'm able to modify the Final Cut XML as necessary to account for format changes even if Resolve can't natively handle the adjustment.

  • I shoot on a BMCC 2.5K and this is my process: I do a one-light grade of the dng sequence in Resolve, spit out DNxHD proxies as individual clips named the same as the dng sequences, then once the edit is done bring it back to resolve and use the 'replace source folder' function to point back to the original dngs and do the final grade. – stib Jul 17 '17 at 2:25
  • @stib - I found a better option in Resolve 14. Check out the answer. – AJ Henderson Aug 11 '17 at 14:23
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Apparently I was just missing the setting. While Optimize Media has been changed in such a way it will not work, there is now a Media Management function that will handle this perfectly. It is available under the File menu I believe it was.

Media Management allows moving, copying and transcoding of all footage in the project, all footage in a timeline or particular clips. You can also choose to work on only the footage in the project that is actually used (useful for discarding unused clips after final editing is done). You also have the option to relink or not to the newly created files.

Scaling it to another resolution is also an option.

In my case, I through all new clips that needed to be transcoded in a timeline, selected to export all clips from that timeline and setup the output settings and ran the transcode. It pushed through 2.5 TB of footage in about 4-5 hours and produced 130GB or so of proxies.

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