Prelude/Premiere proxy / subclip workflow question - tight deadline

Using proxy files that have an identical filename to the full resolution media, Premiere seems to have no trouble finding all of the media when you tell it to link back to the original media.  This appears to translate through to the subclips that have unique names as well.  I've only done a limited test.  The steps are below:

1. Ingest proxy files that have the same filename as the full resolution media into Prelude

2. Mark subclips, rename subclips, and add comments as desired as if you are working on the full resolution media

3. Send proxy files and subclips from Prelude into Premiere

4. Make all proxy files and subclips offline in Premiere

5. Link media using full resolution files (Note: Select all clips and subclips -- Premiere should automatically find all of them after you link the first one)

6. Attach proxies (again, select all clips at once)

**Note, I haven't tested this workflow using proxy files that have the typical "_proxy" suffix attached to the filename that Premiere automatically adds when creating proxies.  If this method worked in that scenario, then I would probably suggest keeping the "_proxy" suffix as it is a safety measure that helps protect against accidentally overwriting your full resolution media with your proxy media due to a blunder.  I just came across this workflow as the proxies I am using happened to be generated via Davinci Resolve where they were encoded using the exact filename of the original media.  There are perhaps some benefits to using the same filename for your proxies -- just different ways of doing things with different benefits/drawbacks.**

Warren's point about how Premiere works with full resolution files rather than directly with proxy files is spot on in my opinion.  If doing a very large project, would recommend checking for any unintended consequences to this approach, before jumping into it.

You import the Full Resolution then create or attach the Proxy.  While editing the Full Resolution clips (including making subclips), you enable or disable the Proxy by using the Toggle Proxy button (or going into the Preferences, but the Toggle Proxy button is preferable).

You do not import a Proxy and as such you never work with a Proxy directly.

So, let’s say you have IMG_5254.mov (the Full Resolution clip) and IMG_5254_proxy.mov (the attached Proxy clip).  You would only have IMG_5254.mov in the Project. You would not have IMG_5254_proxy.mov in the Project.  All edits are made using IMG_5254.mov, including marking In Marks and Out Marks, making Subclips, merging clips with audio recordings, creating New Sequence from Clip, and creating MultiCamera Source Sequences.

if you’ve imported IMG_5254_proxy.mov and used it to make Subclips or create a new Sequence, then you’re using the Proxy as if it were the Full Resolution file. This would be incorrect use of IMG_5254_proxy.mov. If you happen to have created a Sequence from IMG_5254_proxy.mov and have been editing, you’ll want to create a new Sequence from IMG_5254.mov, copy and paste all affiliates of IMG_5254_proxy.mov into this new Sequence and then manually replace affiliates of IMG_5254_proxy.mov with a corresponding affiliate of IMG_5254.mov.

With Premiere Pro's proxy workflow, you always work with the Full Resolution clips with the attached Proxy.  You never work with the Proxy files directly.