![]() ![]() ![]() Yes, there are some operations best done on the full-resolution files (like stabilisation and adjusting image texture such as NR and halation / grain effects etc) but these typically don't have to be done real-time and they can be done at the end of a project during the mastering phase. You can edit on virtually any computer you like, as you can make your proxies whatever resolution you want When you work with proxies you can just delete them at the end (if you want to) and the project will still be in-tact, or if you don't delete them they won't take up much space as they'll be much smaller When you archive your project you will either have to delete the DI (meaning you can't load your project and hit play), store both (more than doubling the storage requirements because h265 is much more efficient than Prores for the same quality), or if you delete the originals then you'll both increase the size of the media you stored and be stuck forever with a degradation in quality. a test I'd suggest you try before committing to a DI workflow If you render to a Digital Intermediate then you're encoding an extra step unnecessarily and taking the hit to the image quality - I'd even question if shooting 6K with an extra conversion lowers the quality to 4K levels. Sure, proxies are a different way of working, but: In terms of habits dying hard, which I understand, it sounds like you're at one of the rare points where you're going to change your habits anyway, so I'd suggest considering what will be the best investment in the long-term. I notice Adobe and Apple seem to have (I am on a Mac) different ways of interpreting HEVC? Or maybe that has improved? What is the best way to get the best transcoded image without a gamma shift or artifacting? I will be using Creative Suite but considering both Media Encoder and Compressor. I'd like to transcode to either 6k ProRes or 4K UHD ProRes for an entirely online edit (my computer doesn't do so great with 6k, especially HEVC). ![]()
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