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What Is a Proxy Workflow?
A proxy workflow is a method of video editing in which you work with smaller, lighter copies of your footage during the edit, then switch back to the original full-resolution media for colour grading, finishing, and final export. It is one of the oldest and most reliable techniques for keeping an edit responsive when your hardware cannot handle the demands of modern camera formats.
The concept is simple. The execution, if you understand a few key principles, is too.
The problem proxies solve
Modern cameras produce footage that is optimised for image quality and post-production flexibility, not for real-time playback on an editing workstation. A cinema camera shooting 6K RAW might produce files at data rates of 300 to 500 megabytes per second. Even compressed 4K formats like H.265 and HEVC, while much smaller on disc, are computationally expensive to decode because of how aggressively they compress each frame.
The result is a gap between what cameras capture and what editing hardware can comfortably play back. A timeline with a single stream of 4K H.265 might play smoothly on a modern machine. Add a second angle for a multi-cam edit, some colour correction, a few effects, and the machine starts dropping frames. Add a third or fourth stream, as you would in a documentary interview or a live event edit, and playback becomes unusable.
This is not a reflection of bad hardware. It is a consequence of the mathematics involved. Decoding multiple high-resolution, long-GOP compressed streams in real time, while also applying effects, is one of the most demanding tasks a computer can perform. Even professional workstations with fast processors and dedicated GPUs reach their limits on complex timelines.
Proxies solve this by giving you media that is designed for editing rather than for final output. Smaller resolution, simpler codec, lower bitrate. Your machine can play back multiple proxy streams without strain, and you edit as normal. When the edit is locked, you switch back to the originals and export at full quality.
What a proxy is
A proxy is a lower-resolution, lower-bitrate copy of a source clip, encoded in a codec that your NLE can decode with minimal effort. The proxy has the same duration, the same timecode, and the same file name (or a name that the NLE can match to the original). It is linked to the original clip so that the NLE treats them as two representations of the same media.
When you are editing, you see the proxy. When you export or switch to full-resolution mode, you see the original. Your edit decisions, cuts, transitions, and effects all carry over because they are applied to the timeline, not to a specific version of the media.
Think of it like editing a manuscript with a low-resolution printout for markup, then applying your edits to the high-resolution final. The markup is the same; only the print quality changes.
When you need proxies
Not every project requires a proxy workflow. If your source media plays back smoothly in your NLE, proxies add complexity without benefit. But several common situations make proxies essential.
High-resolution footage is the most obvious trigger. 4K is manageable for many modern machines with a single stream, but multi-cam edits, nested sequences, or effects-heavy timelines at 4K can overwhelm even strong hardware. At 6K or 8K, proxies become nearly mandatory for fluid editing. The video resolution guide explains the storage and processing demands at each resolution tier.
Heavy codecs are another trigger. Camera RAW formats (BRAW, ARRIRAW, CinemaDNG, RED R3D) are designed for maximum flexibility in colour grading, not for playback efficiency. Similarly, highly compressed delivery codecs like H.265 require significant processing power to decode, even though their file sizes are smaller. Understanding video codecs helps you predict whether your source media will need proxies.
Slower hardware makes proxies valuable at lower resolution thresholds. A laptop with an integrated GPU might struggle with 1080p H.265 multi-cam editing that a desktop workstation handles without issue. Proxies let you edit on the hardware you have, not the hardware you wish you had.
Remote and collaborative editing benefits enormously from proxies. When full-resolution media lives on a central server or cloud storage, downloading terabytes of footage to each editor's local machine is impractical. Proxies, being much smaller, can be distributed quickly or streamed over a standard internet connection. This is one reason proxy workflows are standard in professional post-production facilities and increasingly common in distributed teams.
Long-form projects (documentaries, series, features) accumulate large volumes of media. Even if individual clips play back fine, the sheer volume of media and the complexity of the timeline can slow things down. Proxies keep the edit responsive throughout a months-long production.
Proxy codecs and settings
Choosing the right proxy codec and resolution involves balancing file size against editing performance. The goal is the lightest format that still gives you enough visual quality to make editing decisions: judging composition, timing, and performance.
For Mac-based workflows, Apple ProRes Proxy is purpose-built for this role. It decodes efficiently on Apple hardware, produces reasonable file sizes, and maintains good visual quality. ProRes LT is a step up in quality and file size, suitable when you need more detail in the proxy for tasks like rough colour work.
For cross-platform workflows, Avid DNxHR LB (low bandwidth) serves a similar purpose to ProRes Proxy. It decodes well on both Mac and Windows, and most NLEs support it natively.
H.264 at reduced resolution (for example, 1920x1080 or 1280x720) is another common choice, particularly for projects where proxy file size needs to be minimal. H.264 proxies are very small, which makes them practical for remote workflows where proxies need to be transferred over the internet. The trade-off is that H.264 is harder for the CPU to decode than ProRes or DNxHR, so it may not offer as smooth a playback experience on complex timelines.
Resolution is typically reduced alongside the codec change. A common approach is to create proxies at one quarter of the source resolution: 4K source becomes 1080p proxy, 6K becomes roughly 1.5K. Some editors drop to even lower resolutions for assembly edits, then switch to full-resolution once the rough cut is locked.
The frame rate of proxies must match the source media exactly. Mismatched frame rates will cause sync problems and duration mismatches that break the link between proxy and original.
Setting up proxies in each major NLE
Each NLE handles proxy creation and toggling somewhat differently, but the underlying concept is the same across all three.
In Premiere Pro, the proxy workflow is built into the application. You can create proxies by selecting clips in the project panel and choosing "Proxy > Create Proxies." Premiere lets you choose from several presets or define custom settings. Once proxies are generated (by Adobe Media Encoder, working in the background), a toggle button in the programme monitor switches between proxy and full-resolution playback. Premiere handles the relinking automatically; you never manually swap files. This integration makes Premiere's proxy workflow one of the most seamless among current NLEs.
In DaVinci Resolve, there are two related but distinct features. Optimised media transcodes your source clips into a more edit-friendly format at full resolution, stored locally. Proxy media creates lower-resolution versions similar to Premiere's proxies. Both are generated from the Playback menu or by right-clicking clips in the media pool. Resolve stores these files in a location you specify in project settings. In the playback menu, you can switch between original, optimised, and proxy media. For collaborative workflows using Resolve's shared database, proxies can be generated once and used by all editors on the project.
In Final Cut Pro, proxy media is generated during or after import. In the import window, you can select "Create proxy media" alongside the original. Final Cut generates ProRes Proxy versions and stores them within the library (for managed libraries) or alongside your originals (for external libraries). The viewer offers a proxy playback toggle. Final Cut's Skimmer and timeline remain responsive because the application prioritises proxy playback when proxies are available and the setting is enabled.
The workflow, step by step
A proxy workflow follows a consistent pattern regardless of which NLE you use.
It begins with ingesting source media. Copy your camera originals to your project storage, maintaining a clear folder structure. Do not alter, rename, or reorganise the source files after this point. Import them into your NLE.
Next, generate proxies. Use your NLE's built-in proxy creation tools, selecting your chosen codec and resolution. This process can take time, often hours for large projects, and is typically run as a background task. Some editors begin the edit with whatever proxy files are ready while the rest continue encoding.
Edit using proxies. With proxy mode enabled, your timeline plays back the lightweight versions. Make your creative decisions: assemble the rough cut, refine the edit, add transitions, titles, and temporary colour adjustments. Everything you do is recorded as edit decisions in the timeline, independent of which media version is playing.
When the edit is locked, switch to full-resolution media. This is usually a single toggle in your NLE. Your timeline now references the original camera files. Effects and colour grades are applied to the full-quality source.
Colour grade and finish using the originals. This stage benefits from the full colour space and dynamic range of the source footage, which is why proxies are set aside for this work. If your project uses LUTs, they are applied to the full-resolution media at this stage.
Export from full-resolution. Your final render uses the original camera files, producing output at the highest quality your export settings allow. The proxies have served their purpose and are not involved in the final output.
Managing proxy files
Proxy management is largely a storage and naming discipline. Keep proxy files in a dedicated folder, separate from source media, so that you can easily identify and delete them when they are no longer needed. Your NLE's built-in proxy tools typically handle naming and linking automatically; avoid renaming proxy files manually, as this can break the link.
Storage location matters. If you are working from a network drive or cloud storage, keeping proxies on a fast local drive gives the best editing performance. Source media can remain on slower or remote storage since it is not accessed during the proxy-based edit. This split, proxies local, originals remote, is a common configuration for teams editing from multiple locations.
Know how much space proxies will consume. As a rough guide, ProRes Proxy at 1080p produces files that are roughly 5 to 8 percent the size of the corresponding 4K ProRes 422 HQ originals. H.264 proxies at 720p can be as small as 1 to 3 percent. For a project with 2 TB of source media, a set of H.264 720p proxies might occupy only 20 to 60 GB. The storage planning guide can help with these calculations.
Cloud and remote proxy workflows
The traditional proxy workflow assumes that both proxies and originals live on local or network-attached storage. Cloud-based workflows extend this model by placing full-resolution media in centralised cloud storage while editors work with proxies locally.
This approach is particularly valuable for distributed teams. Instead of shipping hard drives between locations or waiting for terabytes of footage to sync, each editor downloads or streams a lightweight set of proxies. Edits happen locally at full speed. When the edit is locked, the project file is connected to the full-resolution originals in the cloud for finishing.
Platforms designed for video editors and creative teams can simplify this further. Fabric, for example, offers cloud-based media streaming that allows editors to scrub through full-resolution footage without downloading it, reducing the dependency on proxy workflows altogether. When combined with transcription and search, cloud-based media access also makes it faster to locate specific shots during the editing process, a task that is slow when browsing through local folders of proxy files.
The trajectory of cloud-based video workflows points toward a future where the proxy-or-original distinction becomes less relevant. As internet speeds increase and streaming technology improves, the gap between "lightweight for editing" and "full quality for finishing" narrows. For now, proxies remain essential for most professional workflows, but the infrastructure that makes them less necessary is maturing steadily.
Common pitfalls
Several mistakes recur in proxy workflows. Mismatched frame rates between proxies and source media cause sync drift that becomes apparent only in the final export. Always verify that your proxy settings preserve the original frame rate.
Forgetting to switch back to full-resolution before final export is more common than anyone likes to admit. Always verify the media version before exporting your deliverables. In Premiere, the proxy toggle is visible in the programme monitor. In Resolve and Final Cut, check playback settings before rendering.
Deleting proxies before the project is complete leaves you without lightweight playback if you need to make revisions. Keep proxies until the project is fully delivered and archived. They are disposable after that point.
Renaming or moving proxy files outside the NLE breaks the link between proxy and original. Let the NLE manage proxy file locations and names. If you need to relocate proxies, use the NLE's relinking tools afterwards.
Not documenting proxy settings creates problems when someone else picks up the project or when you need to regenerate proxies months later. Record the codec, resolution, and frame rate used for proxies in a text file at the project root or in your project's shared workspace.
Frequently asked questions
Do proxies reduce the quality of my final export?
No. Proxies are used only during editing. When you export, the NLE switches to the original full-resolution source files. The final output quality is identical to what you would get without using proxies. The edit decisions (cuts, effects, colour grades) are the same regardless of which media version is playing during the edit.
What is the best proxy codec to use?
For Mac-based workflows, ProRes Proxy offers an excellent balance of decode performance and file size. For cross-platform workflows, DNxHR LB is a reliable choice. H.264 at reduced resolution produces the smallest files and is a good option when proxies need to be transferred over the internet. The best choice depends on your hardware, your NLE, and whether file size or playback smoothness is the priority.
How long does it take to generate proxies?
It depends on the amount of source media, the proxy codec and resolution, and your hardware. As a rough benchmark, a modern workstation can transcode approximately 3 to 5 times faster than real time for ProRes Proxy at 1080p from 4K source. A project with 10 hours of footage might take 2 to 3 hours to proxy. Background encoding in Premiere (via Media Encoder) or Resolve lets you begin editing while proxies are still being created.
Can I colour grade using proxies?
You can apply rough colour corrections to proxies for editorial purposes, and those corrections carry over to the full-resolution media. However, precise colour grading should be done with full-resolution originals, since proxies lack the bit depth, colour space, and detail needed for accurate grading. This is particularly true for RAW footage, where the full grading latitude is only available from the original camera files.
Do I need proxies for 1080p footage?
Usually not. 1080p footage in common codecs (H.264, ProRes) is within the playback capabilities of most modern editing machines. Exceptions include very long timelines, multi-cam edits with many angles, or machines with limited processing power. If your timeline plays back smoothly without proxies, there is no benefit to creating them.
How do proxies work in a multi-editor environment?
In a shared storage environment, proxies are typically generated once and stored in a shared location. All editors configure their NLE to use the same proxy folder. In a distributed environment, proxies can be transferred to each editor separately, or streamed from a cloud workspace. The key requirement is that all editors use the same proxy settings so that the link between proxy and original remains consistent.
What is the difference between proxies and optimised media in DaVinci Resolve?
Optimised media transcodes your source clips into a more edit-friendly codec at the same resolution. It is stored locally and improves playback without reducing resolution. Proxy media reduces both resolution and file size, similar to proxies in Premiere or Final Cut. Use optimised media when your machine can handle the resolution but not the codec. Use proxy media when you need both a lighter codec and a smaller frame size.
Can I edit directly from cloud storage without proxies?
It depends on your internet connection and the cloud platform. Standard sync-based cloud services (Dropbox, Google Drive) typically require full file downloads before editing, which is not practical for large video files. Streaming-based platforms, such as Fabric's cloud drive, allow you to access media without downloading it fully, which can reduce or eliminate the need for proxies depending on your connection speed and the complexity of your timeline.
Should I delete proxies after the project is finished?
Yes, once the project is fully delivered and archived. Proxies can be regenerated from source media at any time, so there is no need to archive them alongside the project. Deleting proxies when archiving can reclaim significant storage space. If you anticipate needing to make quick revisions, keeping proxies for a short grace period after delivery can be convenient.
Why do my proxies look different from the originals?
Proxies are lower resolution and lower bitrate, so they will appear softer and less detailed than the originals. This is expected and does not affect final output. If your proxies look dramatically different in colour or exposure, check that no LUT or colour transform is being applied during proxy generation. Proxies should be visually similar to the originals, just at reduced quality.