Offline editing: it has nothing to do with an internet connection. The word “offline” has some negative connotations, but really it’s a useful method to approach video editing projects. Particularly those involving high resolution footage. Editing software will have difficulty playing those back without massive computing power available.
Most computers aren’t equipped with top-of-the-line graphics cards. But without one, editing high res footage, like 4K or higher, can be nearly impossible. You end up with big-time lag or you lower the playback resolution to the point where all you ever see is a blurry image. When you need to know if the focus was sharp on a take, ⅛ resolution in Premiere just isn’t going to work.
That’s where offline editing comes in.
The proxy solution
Offline editing starts with creating proxies for high resolution footage. Proxies are copies of the original footage, transcoded to a less bulky file type and size. Let’s say the footage is 4K. By creating 1920×1080 Pro Res proxies (we usually use Pro Res 422 Proxy clips), you’re making the clips in your project smaller and therefore easier for your GPU to handle.
The editor uses this proxy footage to refine their cut. When they’ve finished fine-tuning the content and everyone involved in the project agrees that it’s “picture-locked,” the editor reconnects the original high res footage, which replaces all the proxy clips. At that point, the colorist and animators go to work, and online editing commences.
Using this technique, an editor with minimalist hardware can edit large projects whose footage would ordinarily not play on their machines.
Managing workflow
Depending on your footage and processing power, offline editing might not always be necessary. But for big projects, it’s often the best way to edit. However, it can be easy to make mistakes. The bigger a project gets, the more risk there is. And if the original footage doesn’t reconnect properly after “picture-lock,” you’ve got major problems. Considering you’ve got to get the footage back online after editing offline, it’s best to have a clear understanding of what the colorist(s) and/or the animator(s) will need from you.
Done correctly, offline editing is nearly the same as regular old editing with an extra step or two involved. Done incorrectly, it can result in hours of work going to waste, projects crashing, mass hysteria!
ECG Productions knows all the ins, outs, ups, downs, ons, and offs of the editing process. If you’ve got a project, or are looking to create one, we’ve got the tools and know-how to run it right. Contact us today!
