Uploaded August 2018 | Updated September 2026, 3 weeks ago
In this blog, Ian demonstrates a post workflow using proxies. First, he shoots a sequence with a RED recording RED RAW files (R3D) in 4.5K. At the same time, he also records 2K ProRes files. Then he takes the ProRes files and edits a sequence in Adobe Premiere, which he exports to DaVinci Resolve using an EDL file. Next, he performs a 4.5K R3D color correct that is frame accurate to the edit in Premiere. Finally, he exports UHD resolution color corrected ProRes files for re-linking in Premiere. Watch the video above to see how this "round trip" workflow can streamline your edit and cut down the amount of time spent color correcting.
Read the full post on our blog: abelcine.com/articles/blog-and-knowledge/tutorials-and-guides/at-the-bench-linking-raw-files-to-proxy-files
In this blog, Ian demonstrates a post workflow using proxies. First, he shoots a sequence with a RED recording RED RAW files (R3D) in 4.5K. At the same time, he also records 2K ProRes files. Then he takes the ProRes files and edits a sequence in Adobe Premiere, which he exports to DaVinci Resolve using an EDL file. Next, he performs a 4.5K R3D color correct that is frame accurate to the edit in Premiere. Finally, he exports UHD resolution color corrected ProRes files for re-linking in Premiere. Watch the video above to see how this "round trip" workflow can streamline your edit and cut down the amount of time spent color correcting.
Read the full post on our blog: abelcine.com/articles/blog-and-knowledge/tutorials-and-guides/at-the-bench-linking-raw-files-to-proxy-files
