Offline Editing
Offline editing is the creative editorial phase where the editor assembles the story using lightweight proxy or low-resolution media, rather than the original high-resolution camera files. The term dates from tape-era workflows where the offline edit was done on cheaper, lower-bandwidth equipment using duplicate cassettes, while the final 'online' conform was done on broadcast-grade tape decks. In modern file-based workflows, offline editing uses transcoded proxies (typically ProRes 422 LT or DNxHR LB at 1/2 or 1/4 resolution) generated from camera originals during ingest. This allows the editor to work fluidly on a laptop with multiple video streams, complex transitions and effects previews, without the storage and CPU demands of native 4K, 6K or 8K material. Once picture lock is achieved, the editorial XML or AAF is exported and conformed against the original camera files for finishing (color grading, VFX, audio mix). The offline/online split is essential to feature film and high-end episodic workflows; in faster turnaround pipelines (news, social, short-form) editors increasingly work natively on the originals using on-the-fly proxies generated by the NLE. The offline phase represents typically 60-80% of total editorial time. Tools: every major NLE supports offline proxy workflows, with DaVinci Resolve and Premiere offering particularly seamless online conform.