Yo I liked and subbed and I think EVERYBODY should do it because I've been watching you for a long time without being subbed. You can pin this if you want
EVERYBODY should do like this guy and NEVER use any other way, since THIS is the ONLY way TO do STUFF for EVERYONE, even THO he just SAW someone else's VIDEO and GOT the IDEA from it and JUST started to USE this WAY! Maybe the next video will be about another way to do proxies and THEN HE'S NEVER GONNA USE THIS WAY, and you wanna know WHY? Just click my link here: www.5z8.info/orgy.avi_yqyr to find out
Muuuuch easier to just continue using the Optimize Media method, and simply purge the Cache folder when done with the project. That solves the "taking too much space" issue.
@@BillyRybka Here's my 2c worth. Not sure what version of DVR you were using when the video was made - I'm on 16.2.4 and am getting portability by using "Export Project Archive" with the check boxes ticked for "Render Cache" and "Optimised Media". You access this from the project manager by right-clicking on your project in the list of projects and choosing "Export Project Archive" from the context menu. This lets me send everything to another editor and saves them from having to rebuild the cache. I manage the size of my cache by using "Delete Optimised Media" on the playback menu when I've finished work on the project, otherwise it gets bloated really quickly. I have found deleting the entire CacheClip and .gallery folders to be entirely safe - DVR just seems to recreate empty ones, however deletion can take a long time as there are so many files in there and the FAT needs to be updated by the OS. Better to dedicate a disk partition just for your cache so that you can just re-format the whole thing (quick format takes a few seconds). Also having your cache on a separate partition means you can put a ceiling on the size of the cache so when it does get really big the rest of your computer is not affected. FWIW I do like your approach and in particular the way it gives complete visibility of the proxy files that are in effect and there is a straightforward way to bring the project back from archive, (including proxies if you decide to archive them) that is going to be forward-compatible with future versions of DVR and could also be used with other editing systems.
Yep. But how long you will be able to wait in the case when you have 14 files of at least 9 hours long for each file of RU-vid Live, for instance? Taking into account that customers are waiting too.
One of the reasons Optimized Media is so large is it renders to a codec that doesn't perform cross-frame compression. This allows you to edit frame-by-frame without the codec having to scan backwards in time to find the all the data it needs to render the current frame. H.264 is optimized for streaming a video forward. With h.264 proxies you'll see reduced performance when scrubbing a video due to the extra/variable processing required.
Great to know! Thanks for the knowledge man! This was more of a video about another method for creating proxies that are more flexible. Optimized Media cant be transferred from computer to computer (I.E. From laptop to desktop). So although optimized media doesnt have cross frame compression, it lacks a lot of the flexibility that this method offers.
In my case I can't generate optimized medias. Davinci gives me an error after a bunch of seconds the process starts and then it crashes. I've tried it many times. So I'm switching to proxies now.
@@BillyRybka can you not set your optimized media to a Google drive folder then on the other computer with the shared folder you just rediscover optimized media
Hey everyone! JUST SO YOU ALL KNOW, THIS IS A VIDEO ABOUT A DIFFERENT PROXY METHOD. I personally only use this method and Will never go back to optimized media because of it. So realize that this is also personal preference. But its based off of Experience and performance I really hope this helps you all Edit Faster! I have been using this exact method for a month now and it has Increased my editing speeds and even allowed me to get other people to help me with video because I didnt have to send them all of my Raw footage, i just sent my proxies instead! Here is MY FILE STRUCTURE: sellfy.com/p/gmxfru/ Check out the New RU-vidr Starter Pack: sellfy.com/p/dme4ov/
I watched this earlier today, but figured it was something I’d never use because optimized media seemed to be working okay. (I’m a Davinci newbie, and I really appreciate your videos.) Anyway, my task today was to go through about fifty video files add to a timeline the best moments from each. Turns out, they were 4K h.265 and my computer was not having it. Generating optimized media was resulting in errors, and there was no way I could do the work with the native files. I remembered your video and I tried it: I’m sold! It was easy to isolate the few file formats I had, and to create the proxies. It was easy to do the relinks, and the editing was like butter. Linking the originals was easy, and the timeline rendered without problem. Thank you!
Dear Billy I like how you present your tutorials and like you Channel but on this you are a bit out! Every Pro knows that Intra-Frame CODECS are the best CODECS to use whilst editing! H.264 and H.265 (Inter-frame) are compressed file formats used primarily for Delivery ie RU-vid FaceBook etc! Having said this there is a variant of H.264 that some DSLRs can shoot called ALL I which might work better! As someone mentioned below you could use DNxHR LB which is a bit bigger but a LOT better than H.264!!! This does not mean that if you have crappy footage It will become better it means that the nature of how the file is stored is Better. Intra-Frame or Intermediate CODECS like DNxHD, DNxHR, ProRes. or Cineform compress each frame individually that results in a bigger files but smoother playback even on old systems. The simple explanation of H.264 or Interframe is that, for each frame, the codec only captures what has changed between this frame and the previous frame. If the video doesn’t include a lot of motion, then this means that the difference between this frame and the last frame is just a few pixels, so all it stores is a few pixels Discarding the other lot without the movement that is why it is so small!! This make it a LOT harder for the editor to cope with!! Cutting a long story Short you could use the workflow you explained in this video but instead of Transcoding to H.264 with low Bitrate you use DNxHR LB if you do not want large files on Windows or ProRes LT on Mac! Here is a good link to all you need to know about CODEC workflow for all NLEs blog.frame.io/2017/02/15/choose-the-right-codec/ Keep up the good work and Stay Safe!!
Sending small proxies to other people for them to edit is probably the key feature here. This is not only way faster, but protects your video property from being illegally published in full quality. I'm not really sold on using this to speed up my own editing workflow though. But it's always great to know alternative methods, so thanks Billy!
This is completely perfect for Multicamera Editing. I could play 16 shots of a music video at the same time with little to no lag. Super helpful for Weddings too and has saved me a huge headache.
What's up with the "you should NEVER"? The reason there are so many optimization strategies is because there is a time and a place for each. Not working with a team? Have a large scratch disk? Work on one project at a time? Have a machine that struggles with compressed formats? Any combination of those scenarios mean you're better off hitting optimize media and going to get lunch. No accidental rendering out the proxies, easy toggling to HQ when needed for color correction, no storing the proxies long term, adding more footage doesn't mean this process each time, you don't have footage missing and not know until you go to swap back etc.
:) I get what you are saying. But I personally have been able to do all of this stuff with this method. As I had mentioned, this is my Go-To method for creating proxies. I would rather use full quality than use optimized media. This of course Is my personal preference. The never was to be more dramatic lol. Also it is the truth for me. I will never use optimized media again. When I want to color I switch to the full quality and I dont know if I understand what you mean by rendering out accidental proxies.
@@BillyRybka I agree with Paige. I get that it works for you and it works well. But by calling it "you should NEVER", you make it sounds like there is a problem with the first method, which is not. Perhaps call it. " Why I will Never Use......" That way it will still inspire curiosity.
@Paige How would i toggle to HQ when i need for color correction ? ( in case i use optimize media)? Is there a button like toggle proxies on/off like in premiere ?
@@BillyRybka I agree with you Billy! Why some people are so damn hateful on RU-vid is beyond me lol. I was needed to edit on a 4K timeline.. and it was a nightmare. Yes, the optimized media works..BUT comes at a HUGE file size! It was not practical. Your method was *exactly* what I needed and was very helpful! Thanks bro!
This is a life saver! Normally I just click the generate proxies button but it was not working, so this alternative method really came to my rescue 😭🙏 Thank you!
Yo brother man!! Thank you so so so much for this tips. Was trying to get my footage to scrub across the timeline for a week. Editing was seeming like a distant dream. Applied your skills and ended editing my video in 1 hr flat. Exporting now. Thanks again bro. Very appreciated.
I don’t know if I’m sold on this method. I get the file sizes are smaller but it’s still in a compressed codec that will make your pc work. But I’ll try it out
I get my footage in H265 10bit 4:2:0 by my Fujifilm X-T3, hopelessly overloading my Ryzen 5 3600 when applying heavy color grading. While I don't have the disk space to convert all my clips from 100Mbit/s H265 to 220Mbit/s DNxHD 220 (for example), my PC is fine with working with lower-quality H264 video that takes less than half the horsepower to decode.
Great job Billy! just one remark: you forgot to specify that the "encoder" option (Native or NVIDIA) is available only in STUDIO version of Davinci Resolve (the free edition has no encoder options)
@@TheMichiganShow I think he meant that the hardware accelerated encoding is available in the free version of the apple version. I mean its an igpu with hardware decoding on the newer m-chips but hey for video editing its better than an intel/amd igpu or apu running on windows ^^ (just a bit sad I cant use my nvidias hardware fully under windows using the free davinci) I actually consider getting the studio version, using the free one as a student more and more and starting to run into all the limitations of the free version (multi monitor support also being a big thing)..
Well done indeed Billy! One reason I have still not been changing completely from Premier to Resolve is proxies. Now that excuse us gone. Informative, helpful, clear and concise advice! And friendly too. Thank you!
I apologize. I was on optical flow and enhanced at normal film speed which through everything to the cement. But now with your method I can use speed warp, no problem. To my computer speed warp was previously a missile fired at a tank trodding in the mud! My hats off to you brother!!!
great video. I thought I would point out that you can use a smart bin to create a bin that will automatically show all mov files in your project. That way you can click in one place and just select all. This would make it easier to swap out all the mov files.
Honestly, i was thinking ..really...Just use lower resolution and quality optimized media and thats it....Absolutley no need this cubersome hocuspocus.😀
@@pirukapekka So did I. … Here is an other tutorial I found very usefull: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-n941hdASHhQ.html (now with the right link)
Yes, much easier and the reason "optimized media" was invented. I also like packing my completed projects into a dra file to put on an archive drive, and I like those optimized files included.
No matter what settings I used for the optimized media I still couldn't get smooth playback for editing, this solved all of my problems, thank you very much!
H.264 is not an editing codec. Your system will use much more processing power when scrubbing through H.264 videos than videos with intra-frame codec like apple prores or DNxHD/DNxHR. If you worry about the file size and portability, you can transcode them to DNxHD LB (low-bitrate). I would also suggest moving your Cache folder from your C drive to other drive. All the best!
Optimized media is not for making smaller files, optimized medai endcodes your footage into a editing codec (DNXHR or Prores) and you can select its size and resolution aswell (in your project settings before the encode). And then working with optimized media handles part of the load (you dont have to encode footage for previews) or even if you encode you medita into a good bitrate (like dnxhrhq) you can even use it for render and speed it up. So basically you misuse optimized media. Working with some types of footage is much better with optimized or I usually just encode all the footage into DNXHR before even start. Also you cannot grade your proxies properly and you can grade optimized media if you choose propper quality. Dig into it its a good piece of knowladge
This is just a much different work flow. Na, you can't accurately grade your clips, but that's not what it's used for. It's used for Offline Editing. Taking so much strain off your computer and letting Davinci run so smoothly even with a not so beefy laptop. I've been using this method for over a year now and it's helped my workflow so much. Especially for music videos. Optimized Media is not great for playing 16 different clips at the same time smoothly when editing a music video. Multicamera editing is not great and often times completely slows down my work speed. Not with this method tho. This method is so great for people who don't have nor want to spend lots of money on better PC specs. I could litterally edit Multicamera 8k footage on my laptop with no lag at all if I want to with this Offline method. Sure I can't accurately color grade, but color grading will be my last step. The proxies are just there to get the main edit DONE with absolutely no strain to my poor laptop. Then after, I'll rethink the proxies back to it's original 8k footage, color grade then render :)
I guess this video is before Resolve 17 and 18 got proxy generation? Damn i feel lucky i just joined recently. now its one click to make some light proxies out of 8k raw material and even transfer them to another machine and cut on the go with a low power ultrabook.
Thank you! thank you!!!!! Literally saved my life while using multicams. Was about to give up trying to edit the footage- and now I can!!!!! Thank you!!!!
Thank you so much for this. my comp was making proxies at like 900 gigs. Surprised those telling people about proxies aren't explaining how useless they are unless you change the settings.
Great video. I'm going to spend some time doing some housekeeping with my media files and give it a go, especially after just clearing 418GB of CacheClip folders which had practically filled up my entire 2TB drive after using Optimised Media.
As usual something different to learn. So many people are not getting the point that this method gives more command and mobility on proxy files than optimized media,like we can delete specific low resolution media and can keep in different folder for every projects so don't have to dig in optimized media. Good method for big editing projects. Great Billy👍🏻
Hi Billy. I'm an Italian Priest (Franciscan Friar) doing videos for children. I'm following your tutorials since a while and today Just downloaded your folder structure to compare with my workflow. Nice to find the reference to 1 Cor 10:31... High Five, bro. Nice.
Amazing man!! If you are using davinci resolve 17, this method I show you isn't relevant anymore. Resolve 17 has a method called "generate proxies" which makes this so much easier
Billy... when you meet the magical unicorn that braw is, you will never want to go back using anything else. Braw directly to the time line.... love at first click. Cheers!
@@nickrieve5095 @Billy Rybka have you tried this method with mp4 and the ticking of the box?? i would love to know because i tried this method with braw into mov and changing to proxie source folder just makes media offline it doesnt work for brawers im afraid... hope there is a good way for braw to be edited in a proxy way
Will give this a go, always use optimised media but the storage is always stupid. Plus I can keep the structure better when backing up. Optimised media is a nightmare as it doesn't get labelled and your forced to dig through it if you need to. Nice work. More effort but will see what the reward is. Something I may have missed, if you have audio in a separate track, do you sync that to the source file first, so that the trans coded media includes this? If you don't and you switch back to the source for rendering I imagine the audio is not the one taken from another recorder ?
I much prefer this method also. Definitely a lot more reliable than optimised media. As well as using adjustment tracks for colour grades and noise reduction, so they can be turned off easily for re-editing.
Thank you! I spent 10 hours trying to create optimized media and in the end it crapped out cause of space issues. Then I tried this method and it took me 15 hours to transcode it. But it is working. It's not more effort than optimized media. I was thinking I have to shoot at lower resolution or frame rate, but I think this is the ticket! By the way, you also explain things very well. Easy to follow.
I'm about to start editing a short film and needed a better way of doing proxies. This video has been very helpful. Thank you, this earned its like and subscribe.
There is one more (major) issue with "Using Optimized Media" - as soon as you try modifying the underlying file - e.g. zooming or panning it- the optimized media will have to be regenerated again. This can be automatic, but still takes lots of time for the whole clip - so it usually makes pointless of using optimized media for me. This is especially bad when a clip is long - e.g. over a minute. Reducing the video clips resolution (as suggested) should work perfectly fine.
After playing with DaVinci Resolve Studio for a month now I realized that keeping your proxy files in H264 isn't such a bad idea after all, it's actually AMAZING, though my recepy differs from Rybka's in a way that it takes away this hustle with extensions and therefore consumes less of your time. Especially when dealing with multicam projects that have too many angles, H.264 proxies are crucial. I've recently had to edit 16 angles, and Optimized Media did not help at all to speed the process up, even when I generated it to SSD drive. It was just too much data to read at once, so the editing was impossible, it was freezing so bad it was unusable. But then I tried transcoding to H264 540p MOV files and I was instantly able to play all 16 angles in real time. Today I have though of a very neat recepy, how to generate proxy files and deal with multiple formats. Hear me out, cause the result is truly outstanding. The encoding and scrubbing is lightning fast, the proxy media is very compact, and substituting from multiple formats back and forth takes literally a few seconds. First, you need to prepare the proxies. I think it's best to keep a separate "Proxy" folder (or whatever you wanna name it) on your drive. Then in Resolve under Media you select all bins in your project that you want to transcode into H264, and you select all files in those bins (you can do it at once). Don't mind the different formats - mp4, mov, mts, whatever - it doesn't matter. Now, with all of your various clips selected, you go to File > Media Management (I've assigned F6 shortcut). Choose Clips tab, specify the path to your Proxy folder, choose "Transcode all media" and if you want to retain original folders structre, expand "More options" and choose "Preserve folder hierarchy after X levels deep" (drive letter is 1st level, first folder is 2nd level and so on). Choose Quicktime video format, H.264, NVIDIA encoder (if available), Medium Quality and - VERY IMPORTANT - deselect "Frame reordering" to experience super-fast encode process. Choose Custom Resolution of 960 x 540 (if you work on just one Full HD monitor, this is perfect, cause you always see your video on just half of the screen, which is 540p). Choose a larger resolution, if you need to. The audio codec remains Linear PCM. Press Start and enjoy the speed. When the transcode process is finished, create another Bin under Master bin in your project and name it Proxy (or similar). Actually, for your convenience, name it anything that would put it to the very end of your list of bins, if you have many, for example "Z". Add the new transcoded files into that Proxy bin. Congrats, now that you have your proxies prepared (that is transcoded into a separate folder on your hard drive and added to a separate Proxy bin), to quickly change original files in any of your timelines to the MOV proxies, you need to select all clips on the timeline, right click, deselect "Conform Lock Enabled" (I've assigned F7 shortcut), you can reselect it again when done switching to proxy files. Now go to File > Reconform from Bins (I've assigned F8 shortcut). Expand Master Bin. Deselect Master Bin and select only the Proxy bin. In the Conform Options, enable File Name and choose "Loose file name match" option. Also enable Total Duration. I think these two should be enough to have clips correctly match together, especially if you have same filenames within your structure (like 0001.mts in different folders). "Loose file name" means the difference of the extensions will be disregarded (so 0001.mts would switch with 0001.mov and vice versa). That's it, press Ok and you're done! And when you want to go back to the original files, select all clips on the timeline again, disable the conform lock, if you re-enabled it before, and jump to "Reconform from Bins" (so it's F7, and then F8 in my case), but this time expand Master Bin and deselect just the Proxy folder, so that Resolve looks for substitutes anywhere but the proxy folder. It's that simple! Yeah, I mean, a lot of text, but once you go through this a couple of times, you will perform all of this within seconds. This is how you can transcode any project with any amount of files into compact sized MOV H.264 proxies with perfect sound quality and decent 540p image. Actually, it looks much better than the quality generated by Optimized Media DNxHR LB codec, plus with its 4-5 mbps overal bitrate it consumes at least twice less of space on your disk, and the encoding time is more than twice faster than generation of Optimized Media (but only if you have "Frame reordering" deselected, when transcoding, otherwise a slightly better visual quality comes at the expense of speed and encoding takes a bit more than generation of Optimized Media). And yes, the scrubbing of those proxy files is VERY fast and they perform solid when combined into numerous angles in multicam. As oppose to Optimized Media, you don't need the presence of original media files to listen to the sound. You are free to leave original media disconnected until you're done editing and want to switch back. The transcoded 540p MOV files are really small, especially when comparing to 4K material. For example, 24 gigabytes of 4K data has turned into just 1 gigabyte of proxy data. What a squeeze, right? But hey, look at the numbers. I've performed a test on my laptop with the following config: Intel Core i7 6700HQ, 16 GB RAM, 2047MB NVIDIA GeForce GTX 1060. The test project had 46 minutes of 1080p 25 fps video on the timeline. I've created proxy files with three methods: 1) generated Optimized Media at half resolution (making it 540p) into DNxHR LB codec; 2) transcoded via Media Management into H264 540p, as instructed above, but with "Frame reordering" switched on and 3) with "Frame reordering" switched off. So, here's the result of turning 46 minutes worth of 1080p content into proxy files: Original media size: 16.6 Gb Codec: DNxHR LB Enc time: 5 min 37 sec Media size: 3.7 Gb Codec: Quicktime H.264 ("Frame reordering" - ON) Enc time: 6 min 23 sec Media size: 1.3 Gb Codec: Quicktime H.264 ("Frame reordering" - OFF) Enc time: 2 min 23 sec (58% faster than DNxHR LB) Media size: 1.3 Gb I don't know, how you see it, but when I realize that 46 minutes long 16 gigs of 1080p footage are squeezed into 540p super fast scrubbing MOV files in a matter of (drumroll) two and a half minutes (!!!), my jaw falls on the floor and after years of dealing with Sony Vegas, I'm marrying to DaVinci Resolve right this instance. For many reasons. But this lightning fast generation of proxy media is a very strong feature, in my opinion. Especially when you have a lot of 4K footage to edit through every day. There's nothing like being able to generate proxy media for your project, while taking a cup of tea. I suppose, writing this post in the middle of the night makes me one hell of a nerd. But I just had to share this discovery with you all. Enjoy! P.S. I should probably create a video illustration of this method, people don't read long instructions these days. P.P.S. To be fair, I have to note that 4K footage won't be that fast at all. I've tested on 46 minutes of 2160p content and in this case Optimized Media actually won the race transcoding it in 10 min 30 sec, while Quicktime H.264 finished in roughly 12 minutes - that's one and a half minutes slower. But with MOV's you get great portability (sending proxies to other editors is easier and faster that way rather than exporting project archive with optimized media in it - option available under Project Manager) and, as I mentioned, improved visual quality. And you don't have to keep those proxies on a local drive - you're free to run them from external USB drive, for example, and the performance will be just wonderful.
Since the prior description is very long and detailed and cumbersome, I'll try to simplify it with easy to follow bullet points. *HOW TO CREATE PROXY FILES AND SPEED UP YOUR WORKFLOW IN DAVINCI RESOLVE STUDIO* *Hotkeys Assignment* (Optional) • Assign F6, F7 and F8 keys to "Media Management" (F6), "Conform Lock Enabled" (F7) and "Reconform from Bins" (F8), do it by going to Keyboard Customization (Ctrl+Alt+K), selecting All Commands in the Commands list and typing each of the above commands in the search box, and then selecting the space to the right of the command and pressing one of the keys to assign it. Umm, I feel like I'm writing "Resolve Studio for Dummies", right? ) Well, the rest was specified in more details in my first post of this thread. Continuing more briefly from this point onward. *1) Select Clips* • Select all clips in the Media Pool that you want to generate proxies for. *2) Media Management* • Go to Media Management (F6) and in the Clips tab choose Transcode • Choose separate Proxy folder on your drive (can be external USB drive) • Expand "More options" if you need to preserve original folder structure (a.k.a. hierarchy) • Video Format: QuickTime • Codec: H.264 • Encoder: NVIDIA (if available, otherwise Native) • Quality: Medium • Frame Reordering: off (unless you're not in a rush and prefer a slightly better visual quality at the expense of encoding speed) • Resolution: Custom (960 x 540), or any other predefined, like 1280 x 720 HD 720P • Retain sub-black and super-white data: might be worth checking, though I personally prefer to color correct the original files, so I leave this unchecked • Audio: Linear PCM (default) *3. Add Proxies to the Project* • Go to Media and create a separate Bin for proxies in your project. • Locate the Proxy folder in the Media Storage, drag and drop everything in it under the Proxy bin on your left (that way your folder structure will be retained). *4. Flip Between Proxies and Originals* • Now you either want to create a new timeline and add proxies to it that you will later (when done editing) replace with the originals, or you already have a timeline of originals that you want to flip with proxies. In any case, there's a timeline full of clips, and you need to flip those clips. You do it as follows: • Select all on the timeline (Ctrl+A) • Right click and deselect "Conform Lock Enabled" (F7) • Go to File > Reconform from Bins (F8) • Expand "Master" and either deselect Proxy bin (if you aim to flip from proxies to originals) or deselect Master and select only the Proxy bin (if you aim to flip from originals to proxies) • In the Conform Options have the following two options selected: • 1) File Name (also choose Loose file name match, so that extension differences are ignored) • 2) Total Duration • Press Ok and reselect "Conform Lock Enabled" (F7) So, if you assigned the hotkeys, the whole process here is about using those three keys that follow each other one by one: first F6 to create proxies, then F7 to release conform lock, and finishing with F8 to flip originals with proxies and vice versa. Fast and very effective method how to keep your workflow lightning fast and be able to share it with other crew members without sending over enormous chunks of data. The resulting MOV files are very compact, while offering decent image quality (especially decent, if you choose High encoding quality and a resolution of at least 720p).
@@nrice3623, this method isi no longer needed with v17 of Resolve, but if you're still on v16, then yeah, feel free to try. I ended up using 720p template for all my transcodes. This method may be a little inconvenient, if you have a lot of compound clips and multicams on the timeline, cause you will have to replace the clips back and forth inside each. I haven't yet migrated to v17, since it's still in beta stage, but once I'm there, the new proxy files method built in Resolve will make this whole proxy thing super easy.
I've had nothing but nightmares and frustration involving optimized media! I came up with a solution after watching this video! Personally, I prefer to use Cineform proxies like I used to use in Premiere. I can't really do it like shown here, but I export separately and replace clip. I then change it back after I'm done. I realize I have to manually replace each individual clip, but IT'S WORTH IT! This video helped me find an answer to my nightmares! By the way, I can't get over how much your set looks a little like ThioJoe's!
Thank You so much, Awesome vid. Just a little tip- to import folders to media, drag them to the bins section instead of the actual media pool.If you drag it to the actual media pool, its gonna import all the media inside of the folders and it will destroy your structure but if you drag it to bins it won't destroy your media structure.
Not sure if you learned this from someone else or figured it out yourself - but we used to make proxies ( and some still do ) by using the media manager on all the files regardless of file extension - and then pull them into a bin called proxies - do all the editing and then when the time comes to color grade - you simply do a reconform from bin on the timeline and do a loose match on the file name and reconnect to the old media. This was before optimized media was in DR. I think the reconform is faster and less confusing as your folder structure doesn't need to be sorted or referred to with different extensions. You should use a less compressed codec for editing too - the actual file physical size is not much of a benefit once you make the proxies to an external - the benefit is it is not on the same disk as your cache and stills - and it is portable - like your method. Not seeing anything else beneficial to your workflow. The name of the file would be the same - no editor cares what extension it is using - you can make DnxSQ proxies for ProRes - makes no difference as long as the software can reconform them back to the originals after editing.
@@BillyRybka No - your method is one way- but the way I was mentioning, you don't need to worry about different file extensions - i.e. .mov or .mp4 etc. You just pick all your original clips and open the media manger and copy/transcode to any proxie type you want - then pull the new files back in - do your edits etc. And when it's all done - select the timeline - right click the timeline nd turn off the conform lock - the find the timeline in the media pool and right click and choose reconform from bins - A window will open - you find your drive and choose the search method - i.e. I suggested loose filename - The Resolve will basically switch you timeline to use original media. That's how colorists have been doing for years. I have had editors that have never seen the original files - as long as they don't change the name of them - they edit the proxies and are able to easily send the project through the Internet and then I do a reconform and grade with the orignal files.
Or you can just open Project Settings, set optimized media resolution resolution to one quarter (for 4K), set quality to the low-bandwidth version of ProRes or DNxHR, and generate optimized media as usual. If you don't care about portability (which is the case for most of us), this is much easier.
Yeah, this is a dumb video. You can change proxy settings (to reduce file size) and it will achieve the same thing, but in a muuuuuch easier way. And I don't see any issue with portability using proper proxies. Relink them if need to, takes 2 seconds.
@@sonzet2093 I don't really look at the proxy file sizes. It is nothing compared to the original 8K RAW files. Just checked, and they are 1080p, 6mbps and the size is 0.65% of the original, . There is no point to squeeze out any more out of this.
Really enjoying your videos Billy! It's breathing new life back into my mountain biking trail guides, gets me excited to try new things with every video! Keep up the awesome tutorials!
Really liked the detail of the tutorial! There is a way however to decrease the file size of optimized media: by changing the quality level of the optimized media under Project Settings > Master Settings. (I have a video on my channel demonstrating it.) It's simpler for my workflow since I don't need the files to be portable, but whenever I need to move them somewhere else, I use the proxy method!
Billy, this is beautiful. I have just tried it out on my latest video and worked perfectly with the colour grading and effects. Didn't have any issues. Saved me a lot of storage space, time and pain of dealing with optimized media.Thanks for this tip and ignore the haters
I set my optimized media resolution to half and SQ quality and not only does is convert files super fast (on my blade 15 laptop), but the files aren't big. Thanks for the info but there is no way I'm doing all that work haha... Not to mention it introduces a lot of opportunity for human error. Still love your videos man, just not this one :)
To be fair I have just gone to dr17 and this was something I was looking at as part of settings up my workflow. I know dr17 has a proxy mode but this helped organise the set up for me on the bins.
If you trim before rendering the proxies, and then edit with the trimmed clips, will that link back (time-wise) correctly with the untrimmed original clips? Say you trim to keep 5 min. in the middle of a 20 min. clip. When linking back the proxies to the originals, will Davinci regognize that the 5 minutes come from the middle of the clip with the same file name, or will it just use the first 5 minutes of the original clip?
Outstanding. Your lectures are superb, leaving nothing out while providing support in the form of examples and elements. I'm an editor and cinematographer now working in Resolve 16. Thanks for what you're producing. It's all useful and accurate.
@Billy Rybka for the free version we do not have the option for GPU but use hardware acceleration if available and the option is greyed out. Only on the Studio version GPU selection is available
Hi. Are all your videos created with the studio version or the free version? I noticed some of the displays are different (i.e. media management screen).
A wrapper change won't prevent you from relinking a timeline to native media, as long as other identifiers are retained. Also, be careful about your bits and bytes mate.
This doesn't work if the video has audio. the sync is off and makes your edits wrong. Sorry, I love all your videos. For gaming videos with different track audios this screws them all up.
Do you need to have the video and audio separated from the beginning for this to work? Im new to video editing but got a great gig doing so. Thank you so much for all your help!!!
OK, I tried using this method with a multicam sequence for a music video and DR was definitely struggling with the playback (double window, Multicam on the left, playthrough on the right.) I had to cancel the proxies and go with optimized media instead. I have a powerful pc for video editing BTW.
This is awesome. I am looking at adding a script/watchfolder to my workflow when i drop my footage on my nas from the sd cards, having something kick off an ffmpeg script to go ahead and create my proxies. That way when I sit down to edit my proxies are already done!
Does stabilization and lens correction work in your mentioned workflow ? simple cut and add effects might, but once there is settings like stabilization generated from low-res images once substituted for big files the analyzed data may differ, as i heared in premiere pro .... what about here ?
HELP! Sort of... so I use a GoPro Hero 8 along with a Canon 5D4 and/or Sony RX100 IV for various stuff; but I notice there are always video noise (like the sides get kind of blurry for a few moments) here and there in the final video when viewing on RU-vid. The noise usually happens in busy scenes or during a speed ramp and it seems to affect ONLY footage shot on that GoPro. I have an older PC and I only have DNxHR HQX or below codec to choose from @ 8 bit video bit depth and shot in 4K @ 30fps. I recently did an experiment, and I did not use optimized media to export and I set the quality to 30000, 40000 and 50000 respectively. Again, the video always looks good and clean on my computer, but the version on RU-vid have that blurry noise again in places mentioned above. I have to add though it is not as bad in versions I didn't use optimized media. Any idea what I might have done wrong? Thanks.
Billy your video has inspired me to use davinci 16. One simple question; when I use davinci 16 for my video opening text or 3D text. It’s not able accept foreign language, is this down side only limited tonfree version. Or is there any ways to unlock foreign language in fusion text. Please help😄
Hey Billy ! Your Tutorial is Phenomenal to me. I have one concerned that can i make a proxy in another external hard drive and use it for the same project in Davinci Resolve ? because have little bit storage in my c drive that is going to be full within no time.
i watched one video...kept watchign eventually youtube kept suggesting your vids ...now im a sub lol im just starting out with Davinci you and a few other youtubers making using this software so much fun
So I'm using a OBS to DaVinci set up right now, OBS is recording in mkv currently, should I change it to MOV? I just read it's not recommended as MOV is not recording safe as in if interrupted, you lose it all. How are you getting the initial MOV files in the first place?
You said AVIs will transcode. But a recent project I was on would not ingest AVI's. I had to pre-process them using Handbrake. So, how did you import AVI's natively?
Here is my confusion. Please help me in this situation. I have BRAW footage. I import to DR, drop in timeline, render as individual clips and Pro Res Proxy (.mov) settings into my Proxie folder. What is the proper way of doing this swap because you say the raw files AND proxies HAVE to have the same file name AND codec extension. Well, I can't render the proxy as BRAW. I selected all my BRAW clips and changed the source folder to the proxy one and all my files show offline, which is to be expected. What is the way around this??? May be a good video for you to make on this (unless it's stupid simple or you already have). Thanks so much. I really would love this answer to this asap.
Hi. Thanks for the fabulous tutorial. I have a ton of footage in BRAW. I would like to make proxies using your technique, and there is no option for transcoding these in Davinci. I tried MOV with codec H264 and (obviously) it did not work. Any idea how to work with BRAW 4K footage?
Hey have you had any problems with the Vinci results since the new iOS Big Sur I’m not sure if you use Windows or Mac but since I’ve updated mine when I export videos they don’t playback on my iPhone the video just freezes but the sound plays normally please help
At 2:28 you had just imported your _"2. Footage*_ folder. But magically a bunch of sub-folders appeared. Are you saying that you had already arranged all of your media into these sub-folders before you even started Resolve? Is this a standard template you use in Windows?
When I open file location as shown at 7:50 it takes me to my footage folder. Proxy is in the proxy folder like it's supposed to be, but my media pool still has the big ones. Am I missing something in the settings? (Project settings points to the Proxy folder for Proxy media.)
Very interesting method, I would suggest using dnxhr however which does yield much larger file sizes(not as large as optimized media if u adjust the bitrate) than h.264 but provides much better performance than you would get with h.264.
Wow.. didn't know Davinci have that.. My PC is always "coughing" when applying heavy effects.. lol.. Now with this method i guess it will be smooth.. Subbing bro
Done all that stuff and still have nothing but lag, so coming off it and back to Kdenlive and other editors i use where we have no need for any of this stuff
A really useful method. I mostly use 4K footage on a 1080p timeline and I have a rather slow computer. When tested your process I just accidentally did not select all clips when changing the source folder. I thought it would be nice to see if a clip is a proxy or a high-resolution version. Therefore I tried to create FHD proxies outside Resolve using ffmpeg and overlayed a thin red diagonal line across the video (unfortunately it is a two-step process). Using your suggested folder structure I made all my edits then changed the source folder. It is now obvious if I deal with proxies or not.
With a GTX 1070 and a ryzen 5900x, would i benefit from switching to the Studio version through hardware acceleration? Or do you think the ryzen 5900x outperforms the gtx 1070 in terms of decoding/encoding h.264 and h.265 anyway?
If the size is an issue, why not change it in the settings? Basically, lower the resolution of the Optimised Media, lower the format. Wouldn't that do the trick? Also. is this what you're doing here.. transcoding the files, the same thing as Creating Proxies option in Premier Pro? If yes, I know in premier pro normally you can also choose your resolution. Are you not able to here? I did see something on the screen about the resolution, but I noticed you've left that the same, and you change the bitrate instead. What if you would leave a higher bit rate but lower the res a bit? And last question, sorry. How is this different than the Proxy Mode available in the actual Playback menu?
Yes you can turn down the settings in Optimized media, but it still doesnt give you a standalone proxy. You can mess with the resolution but left it at 1080. Instead I just turned down the overall bitrate. part of the selling point with this is that you can do the tough editing work without having the big files and they can also be moved around very easy. with the proxy mode you still need that high quality footage.
Thank you for this, liked and subbed. Been following your tutorials and found it easy to follow. Your tutorial speed is just nice, not too fast and not too slow unlike other tutorials and so direct to the point. Your workflow is really really good.
I prefer optimized media, because it just looks better and it's easier to grade than proxy files, due to the low image quality. Large file sizes wont be a problem if you're using resolve correctly. You should be placing your files on one drive, optimize media on another, and your program on another. Keep everything separate.
