During the social distancing, poxy files (proxies) are the most logical pathway of a remote workflow. In this RED Solitary Series chapter, this workflow will be demonstrated, by creating proxies, edit them on Premiere Pro and through an XML re-link the RAW R3D file in Da Vinci Resolve for final delivery.

REDCODE (R3Ds) and proxies

The REDCODE is a powerful codec. However, sometimes there is a need to create proxies & move them between multiple applications depending on production’s workflow. This RED Solitary Series chapter is dedicated to working with proxies. That means, creating proxies in-camera on a DSMC2 or Ranger, create proxies in Da Vinci Resolve, edit those proxy files on Premiere Pro and through an XML re-link the RAW R3D file in Da Vinci Resolve for the final conform.

Proxy= lower fidelity references file

The proxy file can be generated in-camera or by almost any editing software (REDCINE-X, NLEs and so on). Nevertheless, creating the proxies in the camera is the easiest way, just choose the resolution of that proxy (2k or 4k) and the flavor of the ProRes (check the image below for a reference). Sometimes, proxies with lower resolution can be generated with a better codec (ProRes 4444), however, it’s “just a proxy” so feel free to utilize that freedom. Moreover, the video contains some useful tips and information on how those proxies can be effectively used in order to facilitate workflow.

This session will teach you how to:

Generate proxies within Resolve Import these proxies into Premiere Pro Edit with the low-res proxies & explain the pros and cons of this specific round-trip Export an XML Bring that cut back into Resolve & set-up for grading the RAW R3D files

In the last part of the video, RED’s Dan Duran & Cleigh Reed will join the stream for some Q&A whilst discussing some of the nuances of different types of proxy workflows, including the preferred specs (machine) for this kind of workflow. Check the video below:

RED Solitary Series