---
title: "Proxy"
url: https://postproduction.studio/en/glossary/proxy
language: en
description: "Proxy files are lower-resolution, lower-bitrate copies of original camera or mastering footage, used to enable smooth playback and editing on hardware t..."
updated: 2026-10-25
---

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# 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.

Formats, WorkflowAssistant Editor, DITDailies, Offline Editing

## Related terms

[Offline Editing](https://postproduction.studio/en/glossary/offline-editing)[Dailies](https://postproduction.studio/en/glossary/dailies)[Transcode](https://postproduction.studio/en/glossary/transcode)

Apple ProRes variants ordered by bitrate at 4K UHD 30p. All are intra-frame (each frame encoded independently).

## Articles covering this term

* [Conform and online: from edit to image finishing

  Complete guide to conform and online workflows: EDL/XML/AAF exchange, metadata management, technical QC, transition to grading and VFX in modern post-production pipelines.](https://postproduction.studio/en/image/conform-online)
* [Dailies workflow: from set to editorial

  Comprehensive guide to dailies processing. Learn about DIT roles, data management, proxies, sync, color management, and editorial delivery.](https://postproduction.studio/en/workflows/daily-workflow)
* [Post-production workflows and pipelines

  Deep dive into editorial, image finishing, sound, and delivery pipelines. Master the complete post-production ecosystem.](https://postproduction.studio/en/fundamentals/workflows-and-pipelines)
* [Asset management: MAM, DAM, Frame.io, ftrack

  Comprehensive guide to media asset management tools. Explore MAM, DAM, cloud solutions like Frame.io, tracking via ftrack, and global post-production metadata workflows.](https://postproduction.studio/en/tools/asset-management-tools)
* [Editorial workflow: from ingest to picture lock

  Master the editorial workflow in post-production. Learn about bin organization, offline editing, proxy management, versioning, reviews, and picture lock.](https://postproduction.studio/en/workflows/editorial-workflow)
* [Offline and Online: editorial and finishing workflow

  Understand the offline/online concept. Learn proxy workflows, EDL/XML/AAF, conform process, and modern NLE best practices.](https://postproduction.studio/en/fundamentals/offline-and-online)