What Is Proxy Editing?
Proxy editing is a post-production workflow where editors work with low-resolution, compressed copies ("proxies") of the original footage. When editing is complete, the project is relinked to the high-resolution original media for final output.
Why Use Proxy Editing?
Modern cameras shoot in resolutions and formats that are demanding to edit:
- 4K, 6K, 8K RAW: Requires significant processing power and storage bandwidth.
- High bitrate codecs: Camera originals like ARRIRAW, R3D, or BRAW can exceed what a laptop can smoothly play.
- Remote editing: Transferring terabytes of raw footage to remote editors isn't always practical.
Proxies solve these problems by creating lightweight copies that edit smoothly on any system.
The Proxy Workflow
- Ingest: Original camera files are copied to secure storage.
- Proxy generation: Low-resolution copies are created (typically 1080p or 720p ProRes 422 Proxy or H.264).
- Transfer: Proxies are sent to editors (much faster than sending full-res).
- Editing: Editor cuts using proxies with full playback performance.
- Relink: When locked, the project is reconnected to original high-res media.
- Finishing: Color grading, VFX, and final output happen at full resolution.
Proxy File Sizes
The difference in file size is dramatic:
| Format | 1 Hour Size | Reduction |
|---|---|---|
| ARRIRAW 4.5K | ~1,500 GB | — |
| ProRes 4444 4K | ~540 GB | ~3× |
| ProRes 422 Proxy 1080p | ~20 GB | ~75× |
| H.264 1080p | ~5-10 GB | ~150-300× |
Offline vs Online Editing
Proxy editing is part of the traditional "offline/online" workflow:
- Offline editing: Creative editing done with proxies or lower quality. Focused on story, pacing, performance.
- Online editing: Final conform at full resolution. Focused on technical quality, color, effects.
The terms come from the tape era when "offline" meant editing on lower-quality copies, then "online" meant final assembly on expensive broadcast equipment.
Modern NLE Proxy Support
- Premiere Pro: Built-in proxy workflow — generate proxies and toggle between them.
- Final Cut Pro: "Optimized" and "Proxy" media generation built into import.
- DaVinci Resolve: "Optimized Media" and "Proxy Media" options.
- Avid Media Composer: Various transcode options for proxy creation.
Proxies and File Transfer
Proxies dramatically reduce transfer requirements:
- Send proxies, not originals: Remote editors get 20 GB instead of 1,500 GB.
- Faster turnaround: Dailies reach editors in minutes, not hours.
- Cost savings: At $0.25/GB (pay-per-GB services), sending 1,500 GB costs $375. Sending 20 GB proxies costs $5. With Handrive, both are free.
Learn about transferring footage for editing:
Freelance Editor's Guide to Receiving and Delivering Files →