Edit with proxies, deliver from originals
A proxy is a working copy linked to an original. It lets you make editing decisions with lighter media; the original remains the reference for finishing. Set up this relationship before making more copies: a proxy that is easy to read but poorly linked can show the wrong shot in the right place. The method is to keep the sources, try a setting on a few shots, verify the match, then receive the export with the originals relinked. It applies to your editing software; the Premiere commands mentioned below illustrate the documented steps.
Separate originals, working copies and exports
Create three identifiable locations: originals, proxies and deliverables. Also keep the edit project and a correspondence note. Never replace the camera file with its proxy at the same path: the link must be explicit and reversible. If two cards each contain a file named C0001, preserve the card's identity in the folder structure or in a clip identifier.
Before converting, note the dimensions, frame rate, duration, presence of audio and channel layout. Note the shots that require particular attention: slow motion, rotation, anamorphic image, multiple audio tracks. A proxy is not a backup of the original. Adobe's documentation describes precisely a workflow in which working copies remain linked to the high-definition media.
Choosing a setting with a representative test
Take a shot with movement, a shot rich in detail and a shot containing audio. Choose a supported proxy preset in your software. Reduce the dimensions while keeping the framing and the expected temporal relationship. Don't just choose the smallest file: ease of decoding, storage and editing constraints also come into play.
In Premiere, the Create Proxies function starts from the clips selected in the Project panel and lets you choose a preset. The values offered may vary with the version. Record the preset name and your adjustments, then test playback and switching between original and proxy before processing the whole batch. This check does not measure guaranteed performance on another workstation.
Worked example: a copy at half width and half height
Illustrative example: an original of 3840 × 2160 pixels becomes a proxy of 1920 × 1080 pixels. Each dimension is divided by two; the number of pixels per frame goes from 8,294,400 to 2,073,600, i.e. a quarter. This calculation means neither a file four times smaller nor playback four times faster: codec, compression, bitrate and hardware all come into play.
Suppose a 12-second shot at 25 frames per second, with no frame rate variation: that's 300 frames. The working copy must keep the same instants and the same content so that the cuts remain consistent. In this example, check a movement at the beginning, middle and end, then compare a visible audio event. Keep the reference duration in your note.
| Item | Original | Target proxy |
|---|---|---|
| Dimensions | 3840 × 2160 | 1920 × 1080 |
| Constant frame rate | 25 frames/s | 25 frames/s |
| Duration in this example | 12 seconds | 12 seconds |
| Calculated frame count | 300 | 300 |
| Shot identity | Card A, shot 012 | Copy linked to shot 012 |
Attaching copies without creating a second edit
Import or keep the originals as project references, then use the proxy attachment function. In Premiere, Attach Proxies lets you choose the copies corresponding to the selected clips. The software can use several matching criteria, including name and timecode. An identical name is not sufficient proof, however, when several folders contain identically named takes.
After attaching, alternate between the two representations on the same instant. Check framing, orientation, subject, movement and audio. Also check an edit point near the end of the shot: a difference in duration may remain invisible at the beginning. If a match is doubtful, correct that clip before allowing automatic matching of the rest. The workflow documented by Adobe does not cover still images or image sequences.
Editing while knowing what the copy lets you judge
Use proxies for cuts, pacing and transitions. Go back to the original when a decision depends on a fine detail: focus, small text, noise, mask edge or tight crop. A lightweight copy can make those flaws less visible. If its color appearance differs, don't immediately compensate by adjusting the shot's grade: first check color interpretations and transforms.
Avoid changing the temporal interpretation of an already-linked clip mid-project without re-validating. Adobe notes in particular proxy workflow limitations around Interpret Footage and audio channel changes. For slow motion or variable-rate source, set the treatment upfront with the frame rates and sequences guide, then check the pair again.
Reconnect full-definition media before finishing
Make all the useful originals accessible. In a project built from proxies, Premiere's Reconnect Full Resolution Media command is used to bring back the full-resolution media. In a project where the originals have only changed location, follow your software's media relinking workflow. Both situations require checking the file paths and identities, not reimporting a random copy.
Save a version of the project before this operation. Check the reconnected shots, the reframing, the effects and the audio tracks. For a final export planned from the originals, check the export settings and make sure no source media is missing. First make a short excerpt containing a fine title, a transition and a movement; then open the resulting file outside the project.
Spot the errors that survive a smooth read
A smooth image doesn't prove that the right file is being used. A nearly identical shot can belong to another take; a proxy may have lost an audio channel; a conversion may have baked in an unwanted crop. Compare precise landmarks rather than a general impression.
Another trap: sharing only the editing project on the assumption that the links will follow. Include a description of the folder structure, the list of required media, and the status of the links. If you need to send only the lightweight copies for an intermediate step, state clearly where the originals are and who will be able to relink them. Don't delete the source files just because a check export looks correct; the retention policy depends on your project.
Receiving the Result and Preparing the Return
Your review should answer four questions: was the right edit exported, with the right media, at the right resolution and with the right audio? Watch the entire delivered file, then inspect the risky shots at a useful scale. Check the duration, the beginning and end, titles, transitions and every expected audio channel.
Keep the finishing project, its links to the sources and the export settings. Note corrections with a timecode, a shot ID and a precise action. The project export guide helps you prepare this delivery; the consistent colors guide covers differences in appearance. A well-organized proxy workflow remains an editing tool: it replaces neither the creative review nor the verification of the final media.
Your questions.
Should proxies be created for every project?+
No. Run a test on your representative shots. If editing with the originals is comfortable and reliable, an extra conversion may not be useful.
Can I color grade using only the proxies?+
Reserve the final decision for the originals and the intended delivery context. The proxy may differ in compression, detail or color processing.
What should I do if the originals remain missing?+
First re-establish their location and identity. An export from working copies must be presented as such; it does not recover the missing information.