Proxy

Proxy files are lower-resolution, lower-bitrate copies of original camera or mastering footage, used to enable smooth playback and editing on hardware that cannot handle the originals in real time. In a typical 4K or 8K workflow, the original camera files (RAW, ProRes 4444 XQ, or high-bitrate intra-frame codecs) require fast storage and powerful CPUs that exceed most editing laptops or remote workstations. Proxies — usually ProRes 422 Proxy, ProRes 422 LT, DNxHR LB or H.264 — are generated once at ingest and used throughout offline editorial. When the editor's cut is locked, the timeline is conformed back to the high-resolution originals automatically using matching timecodes and filenames. Frame.io, Avid Media Composer, Premiere Pro, DaVinci Resolve and Final Cut Pro all have native proxy workflows. Proxy generation is typically handled by the assistant editor or DIT using tools like Resolve's media management, Premiere's ingest settings, or dedicated transcoders like Adobe Media Encoder, Telestream Vantage, EditReady or Shutter Encoder. Bitrates: ProRes 422 Proxy at 1080p is roughly 36 Mbps versus ARRIRAW 4.6K at over 1.7 Gbps — a 50× reduction that makes laptop editing possible. Proxies are also used for remote editorial during dispersed productions (post-pandemic norm) where original files would saturate any internet connection. Reference: Avid Media Composer documentation on proxy workflows and Adobe Premiere Pro proxy specifications.