8K

As mentioned above, the easiest by far process should be the native one created a version or two back for native/proxy workflows. Ingest the media from the Media Browser with Ingest enabled, and choose one of the Cineform included proxy presets. PrPro launches ME to make the proxies, you go to the Program monitor, click the + button on the far right, and from the control options there, drag/drop the Toggle Proxies icon to your working control panel.

Just toggle that to proxies for playback/editing, and off to view full quality. As long as the original media is available, PrPro will automatically use the original media for all export work. That should handle you just fine. If you need a specific 2k proxy media for some reason, you can go into ME, and create one. The process is a bit precise, but there are instructions on how to create proxy presets.

If that doesn't work for you, using the old-style online/offline/online process should still work. Although a couple editors I've noted mentioned that they had no issues with playback with pro-camera (RED/Arri type rigs) media that was 8k, and in ProRes or DNxHR ... but 4k from a DSLR/drone/device hammered their machine in playback.

Intraframe being a much more computer-friendly format.

A very common workflow for years to get stuff edited & to colorist & such was:

• transcode to the editing/proxy codec keeping original file-names precisely intact other than extensions, and store on disc in a folder structure precisely like the original media's folders;
• if the original media was already in PrPro, outside of PrPro change the folder name to something else so PrPro can't find it;
• launch PrPro, that project, and use the "Locate media" window that pops up to navigate to the folder/structure with the proxies in it, and click the first clip ... PrPro normally 'finds' everything else and reconnects it all.

Take that out for a remote work, or send to the colorist whatever. When you want to get back to original media,

just go back through the process to change the name of the proxy folder, launch PrPro, and locate the original media.

TEST!

And if someone else catches any step that I missed, please post! I did this a number of times, of course ... but more than four years ago so I could easily have missed a step. This is the sort of thing still done of course to get projects to colorists and audio and Fx people.

Neil

I've never done it, but it should be possible using the proxy workflow:

Work offline using proxy media |

and

Adobe Premiere Pro Help | Ingest and Proxy Workflow in Premiere Pro CC 2015.3

Best to test all workflows prior to committing to them.

MtD