Just a heads up, you don’t need to turn off proxies for exports. The system automatically exports the high-res. If you’d like to export the proxies (maybe for a quick review), you need to scroll all the way down in advanced options on the delivery page and choose “use proxies for export.”
@@orangerecords_studio "Even" more "confusing' is when someone throws a dumb comment on "videos" on a "complicated" system/process...dude...your spelling is horrible.
Thank you for your video, I used the black magic proxy generator for the first time today and WHAT a difference! I had just over an hour of 4k footage on my timeline and davinci resolve playback ate it for lunch! I was able to scrub through all that footage back and forth effortlessly!! No lag no skip. This is a total game changer
Great, thank you for this advice. I just installed DVR18, because of this proxy-feature, because I am starting with a really huge Multi-Clip Project. Lets see how this works!!
its not a separate application. Its a switch to the application to trigger a function and run main program without UI. This is the shortcut to it: Resolve.exe" -pg Same executable that runs the program with UI. It gives you no benefit to run it separately. Its best to run it before you run the user interface.
This is great and DaVinci is getting better and better. Thank you for talking about this!!! As FCPX editor, I'm now, more than ever, thinking to switch to DaVinci...and this was a big one. Thank you again for covering it.
We have fully switched to Davinci for over a year now! Of course with the exception of After Effects. We just finished editing a mini-series for the History Channel on it so definitely have been using it on bigger projects :) Did you end up making the switch? Would love to know your thoughts...
It is worth talking about. Proxy files and pro-res wading into DaVinci with Red raw footage is so stressful that the more I know the better so it can become intuitive.
We've just discovered the BlackMagic Cloud collaboration feature, so we're using proxies in a shared Google Drive to collaborate with our remote editor. Thanks for making this video. Keep up the good work. :)
That’s awesome Troy! I haven’t personally tried the cloud collaboration feature! Do you think I it’s easy and straightforward to use? we might need it for one of our new projects.
Thx for yr explanation re proxi's. Explained it all well. Yes I am a big fan too. I think the bg crew at BDR have come up with a very useful program here - smart thinking folks! I will be using it all the time.
Thanks very helpful. I don't think you need to choose 10bit for proxy though since 8 bit will play back easier and then just use originals when in the color page.
I normally just put the proxies in the original media folder. It automatically creates a new folder called Proxy. And then when you bring in the raw files into a DaVinci Project, they are linked. You don't need to bring the proxies into the project. Just toggle them on and off in Playback - Proxy Handling. Let me know if this makes sense!
You would have to make them within DaVinci. First you would bring in the raw, sync the audio, and then export proxies at lower res with the same name. Then you would have to link them to the raw.
All the options say 1080. But my recording is in 1080 from the start. So how much does this app help with 1080 footage? I just used the Generate Proxy Media option in Resolve with choose automatically on the resolution I think it was and DNxHR option or whatever its called. This did help my playback. I'm wondering if the Proxy Generator makes proxies faster than generating the proxies within Resolve. Is one method faster than the other?
@@BlueSlateFilms My playback while just making cuts was choppy and this is while its in 1080. When I made proxies for this 1080 recording, the playback became smoother. I record with OBS. In order to record my face cam and the game separately, I have them side by side in OBS both at 1080. Then I duplicate the video so I crop the game off of one video and crop off the face cam from the other so I can edit them separately. Its recorded at 60fps so I'm wondering if that would have a significant impact. But the proxies actually did help. It was crazy seeing the video actually instantly show the next clip. I've been trying to figure out what parts of my computer aren't good enough. I just don't know a lot.
What if you shot with different cameras with different bit rates? I’m moving over from FCPX and it just figures out the proxy regardless of original file type. Can it work similar?
Thanks for this. What do you recommend with regard to syncing external audio? I'm trying to figure out the best workflow. I need to create proxies for some Canon RAW 4k footage I have. But I also need to sync audio as well. What do you recommend? Thank you again.
No problem! I’d say to sync it after making the proxies. To turn off the proxies and enable camera originals is only a switch of a button. Shouldn’t affect audio!
Not sure if DaVinci has updated this yet. You would probably have to make your own proxies within resolve and then link them to the raw footage. The options on the Proxy Generator are limited.
Short question: is this free only with the paid version. It didn't come with my free version and I haven't found a download page on the Blackmagic website. Thanks
I must say, no need to check for the bit depth of the proxy file since it won't affect the original file once color graded and rendered. I would recommend not color grading with proxies since you will never see the real effect on the image. Sure playing back a graded file with proxies enabled will help getting the jist of your work, but to get the more accurate result, turn off proxies and grade a still image.
Question please... If I already created proxies outside of Davinci. How can I incorporate the proxies in the new project and toggel back and forth like we do when we create them inside Davinci? did that make any sense? or is that even possible? Thank you
Good question! Not sure how it would work with the new proxy workflow if it wasn’t created in the Proxy Generator, but if your proxies are the same exact names are your high-res files, you can purposefully offline your media and relink to the proxies. Then, ultimately offline those again and relink to the raw.
Hi Armandoo, You can go to your media page, highlight the clips that are the original (high-res), right-click, and choose “relink proxy media.” Then you can navigate to the folder where your proxies live, and select.
Is there a way to save them on a different drive? I want to disconnect my footage from my hard drive and never touch those drives again until i need them. yes I am paranoid.
@@htcbears60438 Thanks for your comment! You mean the footage or the proxies? You should be able to make exact copies of them on a different drive. If you want to have a copy of the project as well, you can export the project onto that new hard drive.
Hi. I am having trouble saving fusion effect macros in Resolve 18, and being able to access them. Any thoughts? Could you show us how to save a macro and access it in Resolve 18 Please...? 🙂 Other than that, keep up the great work. You have taught me a lot.
Oh no! I haven't encountered that issue yet. I am not super familiar with Fusion, so I don't know if I can be of much help. :( Let me know if you find a solution though!
...and that's confusing the F out of me 🥲 because... besides the media mgt menu, there is also the separate "proxy generator" as well as the Project Settings --> Master Master Settings which ALSO set the proxy format and locations and etc. Does anyone here happen to know which setting actually controls proxy making?
@@jhallthird Hi As far as I know, the project settings-> Master Sttings allows you to specify several parameters to be used when you (right click) Generate Proxy Media from the media pool. It also contains the 'Proxy Generation Location'. In the oteher hand, if you use the 'Media management' -->clips--> transcode you can specify there the clips to be transcoded ( whole timeline or selected) and the destination directory (any location you prefer..) and in this case the Project Settings are not used. Of course you will need to link the transoded files to your media pool files so it uses them as porxies.
You can check the metadata. Open the file in quicktime and press command i if you are on a mac. Then go to video details and it should say. Of if you are in DaVinci, go to tge metadata tab.
Hi from France 🙂 Thanks, it's nice to share ! I bought a BMPCC 6Kpro and then I've got Resolve Studio 18 (to download) in the package. I found the file "Blackmagic Proxy Generator Lite" as an alias in my DaVinci Resolve folder and no .exe Do I have to download the last version of the soft to find the app ? I don't understand exaclty what to do... Thanks for an answer if it's possible 🙂and of course a happy new year !!!
Thank you for the kind message! Congrats! I would just make sure you have the most up-to-date version of Resolve. You can check this by going to your Resolve preferences and click "Check for Updates."
I'm looking at the new collaborative workflow and the use of proxies therein. Can proxies be used remotely for color work? I know you won't get the flexibility of editing a braw file but you could at least do a primary grade I'd think(?)
I probably wouldn't use proxies for color grading, especially if you shot raw. The proxy files will either be Prores or H.264. The grade with the raw footage would be totally different.
All these videos keep showing proxy work flow but let me tell u this proxy generator is pretty much broken(at least for me ) .I have a paid version of Davinci 18. I work a lot in animation project where we export files from 3d software like May and unreal in png sequence . And davinci like any other NLE system (read premiere) is very jurky . we tried this proxy generator to convert our files , And it did not work at all (did not covert a single file ). Finally I use generate proxy media from inside Davinci and that worked..
Thanks for this. I agree this separate proxy generator program was one of the best news for me with the release of DR18. And due to my current editing needs, I'd say it came just in time too. Quick question though with regards to choosing the right Proxy format in the setup, what if some footage were shot in 10bit 6k and some in 8 bit 4k (I admit, I don't know how or where to check this which may render my question a bit daft in a sense), would that mean generating the proxies separately via the respective proxy format selections? I am just thinking how mammoth of a task it would be in my case, where all my 4k and 6k files are muddled together :-/ The two cameras I use are 6KP and 4K
You could maybe try to look at the metadata first. If you are on a Mac, do command “i” and I think it should say it. Then, you can separate those clips into two folders and make proxies for each. But, also it may not matter if they are all together, since you wouldn’t be using proxies in a final export. It would only affect how it looks while you are editing I think.
@@BlueSlateFilms Thanks. I had checked the metadata already but just couldn't see 8/10 bit unless it is written in a different way and therefore couldn't spot it.
@@BlueSlateFilms One more thing please. I've got all my proxies ready and at the risk of sounding like a simpleton, I was wondering if I can put them all in one SSD (without the originals) and edit directly using solely Proxies? Currently all the originals are in three separate SSDs so it'll be nice if I can put all the smaller sized proxies into one SSD and just edit from there?
Welp, you clearly don't understand the point of proxies. When encoding you choose what to encode to based on your computer and hard drive/bus speed capability. Proxies are for local playback performance and speeding up remote workflows ONLY. Using proxies requires more hard space. Highly compressed footage like H.264/5 is more processor-intensive for your computer to play back than a mezzanine codec like ProRes. Most computers struggle to playback ProRes because of their bus speed or hard-drive transfer rate. If you are doing color, VFX or delivery of your final, it reverts back to the camera original media.
I was talking about bit depth in relation to color grading. If someone shot in 10 bit and made proxies in 8 bit, they might see some color banding in the proxy file. I prefer to have the proxy be as visually similar to the original file as possible to avoid any confusion. Also, I clearly stated that you must switch back to camera originals before outputting any files.
@jesse you are clearly a very self centric person. I have several projects with 3TB of data and I don't have the space on my MacBook Pro M1 Max. So the h265 Proxy will allow me to have the projects locally on my machine while the originals sit on the NAS. @blue slate: thank you for the helpful video. don't listen to the haters!
