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Which camera would you rather shoot with just based upon native resolution?

Proxies will revolutionize the workflow in HD (and SD)

What are Proxy Files?


In the XDCam world - every time a camera operator starts and stops the camera to record an event, they simultaneously generate a second, "lightweight" lower resolution data file of the same video, audio and timecode. Compared to the full-resolution data file, proxy files transfer at roughly ten times the speed and occupy just 1/10 the disc space. This enables far faster, more convenient data operations for offline browsing and editing.


(You will note that the term “footage” is not being used.  The product from the XDCam camera - ANY XDCam camera - SD or HD - is data - and cannot be confused as anything else.  Once you start wrapping your head around the concept of packets of data being moved back and forth - this method of work flow will all become a lot easer.)

Back to the two data files:

These data files are stored in folders not unlike you would find files on any computer.  In the XDCam world - the camera is essentially a computer with an imager and a lens.  You can plug the camera directly into a laptop, and offload the data.

A good use of this technology:

The field crew can take the proxy data off of the camera and download it to a computer.  An entire weeks shooting is compiled onto a single DVD.  The data clips on the DVD have all aspects of the shoot and not just interviews.  All b-roll shot - every time the camera was turned on and off, with dead solid timecode and discreet (unmixed) audio. 

This is a massive advantage over any camera system on the market.

Now a producer can screen their footage anywhere in the world with nothing more than a laptop.

An editor can take this footage from the same DVD and edit an entire program, without ingesting the actual source material. 

Since the proxies are encoded in a similar manner to the full res data packets on the source XDCam disc, re-conforming to the full res images and audio in the non linear editing process is not a problem. Each clip’s name starts identically to the proxy’s name (the proxy has extra letters and numbers tacked onto it’s name so that you can identify it as a proxy and not the full res file.) 

Both the full res and the low res (proxy) files have discreet audio in identical locations, but not in quality.  The proxy’s audio is at 8 bit (like a very good phone conversation) while the full res data packet records audio at 24 bit.  The proxies are completely fine to rough cut with, but not good enough to air with due to the lack of quality image and audio.

The advantages to editing with the proxies are that it goes into the edit bays much faster - allowing you to start cutting faster, and they take up a fraction of the disc space.

Now, any broadcast could be a HD broadcast today:

...if all the editors cut the stories from the HD Proxies shot in the field, and they had one single edit bay converted to conform the edited pieces to HD. 

They wouldn’t need any special equipment to ingest the proxies - for all the footage would be ingested from a simple DVD.  Only the conforming bay would need to have upgraded Avid and Sony software (so that the Avid can work with the Sony footage), a PDW-U1 (valued at $2600) with no additional drive space than they are now currently using. 

Cost of this upgraded edit bay - assuming the Avid software was under warranty - $2600.00 for the PDW-U1. 

The edited show goes to an archivable and virtually indestructible XDCAM PFD50DLA - Dual Layer disc valued at $50 and written on that disc from the PDW-U1; which is then “sneaker net” to the broadcast center for color correction and broadcast.

CBS PRODUCERS:

If you are having problems screening Sony Proxy files, get with your IT department and get your software upgraded. 

THIS IS A MUST.  The sooner you have this done, the sooner your workflow will be simplified.  The sooner you will know what your crews have shot in the field WHILE YOU ARE SHOOTING.  If you are not happy with the “dailies” - it is must cheaper to reshoot while you are there than it is to bring a crew back.

The CBS Network is implementing a technology backbone that will be supporting the XDCam workflow solution ONLY in the near future.

Not only will you be able to view proxy files given to you by your CBS crews, but in the near future all CBS shot images (both full res and lo res proxy files) will be stored on a closed server that you will be able to access from your CBS laptop. 

Get the appropriate software installed now.  Understand proxies and embrace them - you will be more productive when you implement this small aspect of the technology into both your SD and HD workflow. 

The time saved from not having to track down a playback device alone allows you to get on to better things. 

No longer will you be making calls to a crew months later asking them, “do you recall if we shot (insert needed element here that no one will be absolutely positive exists)”  Now you will know.

Let’s Review:

Compared to typical tape-based production, XDCAM tapeless production delivers a host of powerful benefits:


You can view recorded scenes immediately on the camcorder's LCD monitor, with no need to fast forward or rewind. Then you can return to shooting immediately, without first cueing back to the end of the last shot.


Proxy files enables you to quickly transfer relatively small files to a laptop for immediate viewing, logging, selecting takes and cuts-only editing.


Proxy files can be transferred at far faster than real time from the field to the studio. This enables proxy editing to begin before the full-resolution assets arrive. It also enables proxy video of breaking news to be broadcast directly.


XDCAM assets are data files that can be stored on any PC storage device and transferred over any data network.


XDCAM assets can be browsed across a data network, enabling a producer sitting at a PC in New York to view the contents of a disc loaded into a deck in Moscow.


For an excellent overview from Sony - take a look at this clip.