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simonasher
Participant
April 29, 2017
解決済み

Reconnecting R3D/RCD folder structures to replace MP4 Proxies

  • April 29, 2017
  • 返信数 2.
  • 3992 ビュー

In an effort to speed up my editing workflow, I used Premiere's ingest proxy workflow to create proxies out of all my R3D footage. I went a step further and actually disconnected all the R3D files from the project leaving me with a project with only proxies and no reference to the original media. This made the project super speedy because there was no trace of referencing the 6k footage. Toggling proxies on and off was still just too slow for my system.

This is where the tricky part comes in. When trying to reconnect the full res media, the auto relink dialogue can't break the R3D files out of their RCD folder structure but one at a time, leaving me with 500 MP4s that I have to reconnect to the R3D files one by one. I've tried messing with the Match File Properties (File name, Clip name, Tape name, etc) in the Link Media dialogue without very much success.

If anyone knows how I can automate reconnecting MP4s back to their original R3D/RCD file structure without doing it one by one, I'm all ears!

(Update: My other thought is I leave all my Proxy media in the project and reimport my R3D files back through the media browser and then connect my proxies back to the R3D footage, bypassing the need for the duplicate proxies and tricking premiere that the files I'm looking for are attached to the R3D files, in which case I could toggle proxies off and have my R3D files back in action without having to reconnect anything. I tried this and didn't have much luck, but maybe I'm just missing something that would make it work... Thoughts?)

Simon

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解決に役立った回答 simonasher

I think you're getting caught up on the toggling.

At the end of the day, I still am working with a proxy connected to 6k media that can be toggled on at a moments notice, only to say that with Premiere's proxy workflow, it will inherently slow you down. A regular proxy workflow that reconnects proxy media to the original media at the very end of the post process still works, but is clunky and dumb compared to the new workflow, which I think we can agree upon. I get that once the proxies are created that everything should work great, but that's not what I've experienced in the real world.

The original question, however, is if I do it the way that I did it, is there a way to fix it easily. And the answer is not really.

* The only answer that I HAVE found that was worked reasonably, but not ideally, was to flatten my timeline into only the red clips used, export an xml and import that into Redcine-X Pro and scan your project folders to reconnect the media. Once reconnected, Export a shallow XML and import that back into Premiere and you're timeline will be reconnected at your source media resolution. Then you can add back in any clips and audio that you didn't export out in the original XML.

Not a great workaround, because of its destructive properties - it only importing the files used in your timeline as opposed to all your media, but more like a roundtrip coloring workflow instead. This was my solution at least. To each their own.

Since this starting this thread, I've gotten a new MacBook Pro that can actually handle red files natively at 1/4 res perfectly, abandoning the need for a proxy workflow in the first place. Helpful investment in the long run.

Cheers!

返信数 2

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simonasher作成者解決！
Participant
May 1, 2017

I think you're getting caught up on the toggling.

At the end of the day, I still am working with a proxy connected to 6k media that can be toggled on at a moments notice, only to say that with Premiere's proxy workflow, it will inherently slow you down. A regular proxy workflow that reconnects proxy media to the original media at the very end of the post process still works, but is clunky and dumb compared to the new workflow, which I think we can agree upon. I get that once the proxies are created that everything should work great, but that's not what I've experienced in the real world.

The original question, however, is if I do it the way that I did it, is there a way to fix it easily. And the answer is not really.

* The only answer that I HAVE found that was worked reasonably, but not ideally, was to flatten my timeline into only the red clips used, export an xml and import that into Redcine-X Pro and scan your project folders to reconnect the media. Once reconnected, Export a shallow XML and import that back into Premiere and you're timeline will be reconnected at your source media resolution. Then you can add back in any clips and audio that you didn't export out in the original XML.

Not a great workaround, because of its destructive properties - it only importing the files used in your timeline as opposed to all your media, but more like a roundtrip coloring workflow instead. This was my solution at least. To each their own.

Since this starting this thread, I've gotten a new MacBook Pro that can actually handle red files natively at 1/4 res perfectly, abandoning the need for a proxy workflow in the first place. Helpful investment in the long run.

Cheers!

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excited_Genie16B8
Legend
May 2, 2017

with Premiere's proxy workflow, it will inherently slow you down

What I'm saying is that it won't.  Leave the proxies on, which is their default state, and you won't even know the 6K media is attached.

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simonasher作成者
Participant
May 2, 2017

Jim, that's my issue though. I would love to forget about the 6k media. The fact of the matter is that the difference between the 6k + proxy project and a proxy only project is night and day in terms of real world performance. I know it *shouldn't* be the case, but it is. Just referencing the 6k media for me made my proxies feel like they weighed just as much as the 6k files. Making it pretty conclusive, in my case at least, that if I'm going to spend the time making proxies, I might as well have a project that runs as fast as my proxies.

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excited_Genie16B8
Legend
April 29, 2017

Toggling proxies on and off was still just too slow for my system.

The thing is, you don't ever need to do that.  Export will always and automatically use the original media only...so long as it's still connected.

So I think you shot yourself in the foot here.

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simonasher作成者
Participant
April 29, 2017

To clarify, I don't mean toggling on and off for faster exports. I simply mean that once the proxies are connected and I toggle them on, just having the reference of the R3D clips slowed me down significantly. The only way to efficiently speed up was to disconnect the R3D media altogether, leaving a project full of fastly editable proxies. I love the *theory* of Premiere's proxy toggle, but I wish when you told it to toggle the proxies on, it would actually forget about the original media altogether until you toggled it back on, as I'm sure was the goal of Adobe, but its still slow nonetheless.

I'm aware that proxied media uses the original media during the export, but that wasn't my concern unfortunately.

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excited_Genie16B8
Legend
May 1, 2017

once the proxies are connected and I toggle them on

Again, there's no need to do that.  Once the proxies are created, they're on by default.  You don't have to turn them on, unless you first turned them off, which you don't really ever need to do.

To sum up, toggling is not required at any stage of the work flow.  It's simply there as an option for when you want it.

And leaving the original media connected won't have any impact on performance with proxies toggled on, which is the default state of proxy media.

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