Proxy Workflow inside the current version of Adobe Premiere Pro allows you to transcode footage during ingest. I love Adobe Prelude and use it regularly for it's ability to quickly batch rename all my camera files, but sometimes I make proxy copies of 4k footage while ingesting clips into Premiere Pro because it's easy, the proxy clips are a breeze to edit with, and Premiere Pro makes them look so good! I edit on the go from a laptop, and that is reason enough to try Proxy Workflow in Premiere Pro.
The basic idea of working with Proxies is this: you make a lower resolution version, with smaller file size, of every shot. You edit quickly with smooth real-time playback because the footage is "light" -- meaning it doesn't take a lot of computer processing power (even when compositing layers and effects or grouping shots into multi-cam sequences). Later, you relink to the full resolution footage for finishing. Or not. Proxies look so good I've output for web delivery directly from proxy clips!
There are times when you might need a quick and easy editing experience -- maybe you have an iMac and don't want to risk having issues while editing 4k footage, or maybe you are crunched for time and need real-time playback with no rendering and intend to output for web streaming anyway. Using the Proxy Workflow in Premiere Pro requires some set-up time but, after saving ingest presets, it's the fastest way to transcode, ingest and backup footage using a single program that you already know -- Adobe Premiere Pro!
The main reason I choose to transcode on ingest is that I'm typically pressed for time and delivering in 1080p regardless of whether the show was shot in 4k, 5k, or any large file format. When I edited promos at ABC they shot beautiful footage with the Alexa cameras but, because final delivery is broadcast in 1080p or 720p using the ProRes Codec, we worked with transcoded footage in Premiere Pro and rarely relinked our edits to the originals. We regularly color corrected and finished using the ProRes transcoded clips at 1080 and 720 for broadcast. I've had the same experience with RED RAW and Sony 4k. The original footage is gorgeous, but my DNxHD and Cineform outputs from transcoded "proxies" looked great too! It is lovely to have the advantage of reframing and color correcting 4k RAW, but when I'm not given enough time for that level of creative work, or I'm editing for creative approval before later relinking to complete more advanced effects and color work using the original footage, Proxies created in Premiere Pro look great and work well. I've even delivered a broadcast show straight from the Proxy Sequence when I was crunched for time (using a great looking proxy codec, of course).
The following video lesson is from Channing Lowe. I think that is how he spells his name, I'm not sure because his YouTube channel is called Chinfat. Yes, Chinfat. Channing is really good and you should check out his tutorials. I don't know him personally and he doesn't know me -- but I'm an Adobe Trainer and I think his videos are great! The Chinfat video below demonstrates how to transcode footage on ingest into Premiere Pro and save Proxy Ingest Presets. Please watch the video below because "Chinfat" reviews several important concepts I've covered earlier in class -- such as scale to frame size, shortcuts for making panels fullscreen, and quick keys for navigating your footage. Channing also walks you through metadata displays and visually demonstrates great methods for organizing and viewing footage information while you edit.
Optimize the editing process in Premiere Pro by creating Proxy files during ingest: