Best Workflow with R3D, Proxies and WAV files

Great discussion here!

I'm thinking of importing the in-camera recorded proxy media and right away editing with this.

There are 4 kinds of situation based on how the sound was recorded.

1) Single system

You are so fine.

2) Double system with appropriate timecode

Import Proxy>Sync sound based on timecode. After picture is locked, relink back with raw and export. Or you can export XML directly and relink in Davinci Resolve. While sometimes the relinking could be tricky, while either way of them should work. Talk to your colorist to discuss a solid workflow. I usually export both.

3) Double system with no timecode, while sound was scratched on camera with low quality

Import Proxy>Go to Plural eyes>Sync with sound>Go back to Pr and edit. The rest is the same.

4)Double system with no timecode and no camera sound.

In this case I don't quite recommand using a whole pr workflow in terms of editing. You have 2 different options.

     4.1) Sync sound in Davinci Resolve with incamera proxy files. It'll be a little easier in Resolve's interface to do manual syncing. Create another folder containing these synced files and propably apply some luts if you feel like it. Import the synced sound proxy files in pr and start editing. It is because sync with in point or merge sound are not that handy in pr.

     4.2) Use an Avid media composer proxy workflow instead. You can use Redcine X Pro to help transcoding. Anyway I don't think it's efficient to label the footage before the transcoding is done.

Hope that helps. Didn't test them out. Cuz I usually work with properly recorded sound or advertising media with no sound. While I'm a tutorial video eater so...If it's possible, I hope you can share with me some of your red footage with in-camera proxy media and seperate wav. sound. I do Resolve right, and I like to test situation 4 out.

Just to chime in here:

How and where the original proxies have been made could make a big difference. Resolve has some pretty good conform options so there is very little reason not to edit in Premiere (with WAVs synced to the Proxies) and then conform later to the R3Ds in Resolve. This is a pretty standard workflow.

Try bringing your proxies into Resolve and see if they have Reel Names embedded - this will make it easier. The conform options can be quite complicated depending on your media types and how proxies have been generated etc. but you should be able to conform all your sizing as well.

https://documents.blackmagicdesign.com/DaVinciResolve/20180814-0f11c3/DaVinci_Resolve_15_Reference_Manual.pdf

Check out the conforming section in this (massive) manual.

Hello, this is my first time using Premiere Pro CC 2019 with 8k R3D RAW files.  I have the same question as the original poster, and I'm surprised that no one has an answer for what is surely a fundamental workflow, and the best advice is to go do the work in Davinci Resolve??

Where can I get a step-by-step guide on how to use the proxies that the RED camera created for editing, and then relink to the original media for delivery to Colorist?

Merged clips don't work well with the new proxy process in PrPro. If you're using proxies made by either the camera or another app, honestly I'm not sure of the best procedure for your job.

I know in typical online/offline original/proxy workflow it's the video tracks that are made offline to use the proxy files in that mode. I've seen audio files created from camera media into separate audio-only files for offline use, and I've seen proxies that contained the audio section.

Most often I've seen audio "stripped" from the video, so online/offline didn't affect audio, and so a flattened export for XML/EDL video to colorist didn't contain audio also.

My experience is hardly the best on that though. It will be good to get varied experienced folk commenting.

Neil