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Editing proxies for Premiere & Resolve — without a render farm

4K HEVC from a drone or mirrorless turns any timeline into a slideshow. The fix is 30 years old and still the best one: cut on light proxies, render from the originals.

Why your timeline lags

Long-GOP codecs (HEVC, H.264) are built for small files, not for scrubbing: to show a random frame the editor must decode the whole group of frames around it. Editing codecs (ProRes, DNxHR) store every frame independently — heavier on disk, instant to scrub.

Make proxies with ClipMend (macOS)

  1. Drop your clips (or the whole card folder) → PRO → PROXY.
  2. Pick the codec: ProRes Proxy (Mac default), DNxHR LB (Avid-flavored pipelines), or H.265/H.264 for the smallest possible files on Apple Silicon. Pick the proxy resolution.
  3. Convert — the batch renders with hardware acceleration, each file with its own progress.

Output naming is the part that saves you an evening: proxies land in a Proxy/ subfolder with exactly the same filename as the original — the convention DaVinci Resolve needs to auto-link every clip (Premiere attaches the same folder in two clicks).

Bonus for the same workflow

FAQ

Why didn't Resolve link my old proxies?

Almost always naming: the proxy filename must match the original exactly. ClipMend's output follows that convention by default — no manual renaming.

ProRes Proxy or DNxHR LB?

On a Mac: ProRes Proxy. Choose DNxHR LB when the project will travel to Avid or a Windows-heavy post house.

Do I need proxies on an M-series Mac at all?

For one 4K stream — often not. For multicam, 6K+, or HEVC 10-bit with effects — yes, proxies still beat brute force.

Cut smooth, render full-res

ClipMend for macOS — early access. Join the list, no spam:

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