Transcodage de fichier Transcodé

bonjour
je rencontre un problème avec Encore cs6
lorsque j'importe un fichier deja transcodé avec premiere pro cc ou ame cc pour faire un bluray
fichier transcodé en h264 bluray ou bien mpeg2 bluray
Encore cs6 me refait un transcodage
avez vous deja rencontre ce probleme
merci
I have a problem with Encore cs6
when I import a file already transcoded with premiere pro cc or AME cc to a bluray
transcoded file in h264 bluray  or mpeg2 bluray
Cs6 me yet again transcoding
Have you ever encounter this problem
thank you

If you transcodes with CC 7.1 its a known issue.
Revert back to 7.01 is your only option for the time being.

Similar Messages

  • Gravure bluray

    bonjour,
    je grave depuis peu de temps des BD. Mon projet est du BD et mes fichiers créés sont en full HD (1920 x 1080). Je m'aperçois que les fichiers transcodés puis gravés par Encore sont en 720 x 576 ou 1440 x 1080. J'ai refait mon projet complètement, mais rien a changé. Est-ce que c'est un mauvais réglages de ma part ou est-ce normal?
    J'ai cherché dans tous les menus et boites de dialogue s'il existait un réglage que je n'aurais pas vu.
    Je me suis rendu compte de cette anomalie, parce que l'ensemble des fichiers de mon projet font environ 12 Go et que la gravure ne me grave que 4 Go de données. j'ai vérifié sur un autre projet et le même problème se produit. Dans la structure de l'authoring BD les fichiers se trouvant dans le répertoire "transcodes" sont tous en 720 x 576. A l'origine les prises de vues, puis le montage se font en full HD 1920 x 1080i. Les fichiers pour l'authoring sont en MPG dans ce format.
    Merci à la personne qui pourra me donner une explication.
    cordialement.
    Chantal

    Google translate says:
    "I burn for a short time of BD. My project is BD and my files are created in full HD (1920 x 1080). I notice that the files transcoded by Encore are then written in 720 x 576 or 1440 x 1080. I redid my project completely, but nothing has changed. Is it wrong settings on my part or is this normal?
    I searched all the menus and dialog boxes if there was a setting that I could not see.
    I reported this anomaly, because all my project files are about 12 GB and burning me worse than 4 GB of data. I checked on another project and the same problem occurs. In the structure of the BD authoring the files in the directory "transcodes" are all 720 x 576. Originally shooting and editing are done in full HD 1920 x 1080i. Files for authoring are in MPG format."
    I think you have a settings problem. What are your transcode settings? Post a screenshot?
    Which google translate says is:
    Je pense que vous avez un problème de paramètres. Quels sont vos paramètres de transcodage? Poster une capture d'écran?
    Ann, do you speak French?!

  • Echec transcodage avec AME CS6

    Bonjour,
    La même séquence est soit correctement transcodée avec Adobe Encore CS6, soit conduit à un échec du transcodage avec Adobe Media Encoder CS6 lancé depuis Adobe Encore.
    Format de la séquence d'origine :
    - créée avec Première Pro CS6 en 1920x1080
    - puis exportée vers une deuxième séquence en 720x576 (16/9) redimensionnée pour éliminer les bandes noires aux deux extrémités de l'écran,
    - et enfin importée dans Adobe Encore CS6.
    Le transcodage démarre puis s'arrête avec le message "Echec", le fichier évènement indique "Erreur inconnue".
    Ce dysfonctionnement se produit aléatoirement et dépend des séquences : dans un précédent projet une séquence n'a pu être encodée avec MAE mais correctement transcodée avec Encore CS6.
    Merci de votre assistance.
    Cordialement.
    Jacques Gourier

    Bonjour,
    Je reviens sur ce sujet car j'ai effectué des essais complémentaires.
    - 1) création avec APP CS6 d'une courte séquence contenant les points sur lesquels AME CS6 a calé, enregistrement de celle-ci, fermeture d'APP CS6,
    - 2) ouverture d'AE CS 6 et import de cette séquence,
    - 3) essai de transcodage à partir d'AE avec utilisation d'AME (voir les réglages - Edition - Préférences - Général : Utiliser AME) : résultat échec du transcodage toujours au même endroit,
    - 4) ouverture d'APP CS6 en laissant AE CS6 ouvert,
    - 5) modification de la séquence dans APP CS 6 en retirant l'image fixe cause apparente de l'échec, enregistrement du travail, retour dans AE CS6 qui importe la séquence modifiée (dynamic link),
    - 6) lancement du transcodage avec AME CS 6, résultat : succès,
    - 7) retour dans APP CS 6, toujours en laissant AE CS 6 ouvert, et réintroduction de l'image fixe avec ses effets,
    - 8) retour dans AE CS6, dynamic link importe la séquence modifiée,  relance du transcodage, résultat succès,
    - 9) retour dans APP CS6 en laissant AE CS 6 ouvert et ajout de 8 images fixes avec de très nombreux effets (translation changement d'échelle, bords, opacité, etc.,..), enregistrement du travail, en laissant APP CS 6 ouvert,
    - 10) retour dans AE CS6, dynamic link importe la séquence modifiée, lancement du transcodage toujours avec AME CS6, résultat : succès.
    Conclusion apparente : l'échec n'est pas dû à la séquence elle-même mais au mode d'import dans AE CS6 selon que l'importation est faite depuis APP CS 6 ouvert (dynamic link) ou APP CS 6 fermé (depuis le fichier sauvagrdé sur le DD).
    SI vous avez des informations complémentaires ou des constatations similaires avec d'éventuelles solutions : je suis preneur.
    Merci d'avance.
    Cordialement,
    Jacques

  • Dynamic link in Encore to get AE project, bluray, after transcoding, file still shows untranscoded

    Hi,
    I have an After Effects file. I have several comps that are 1920x1080 at 29.97 drop frame. When I go to Encore, I use, Import After Effects Composition and import several compositions from my AE project. I've tried using both Automatic transcode settings and I've tried to set the settings myself. When I transcode, Encore goes through the motions, but when it's done, the file still shows "Untranscoded". I have checked the project folder and confirmed that the transcoded files are indeed there, but Encore still shows them as untranscoded. What is going on?
    Thanks,
    Stan

    Hi,
    Transcod your comp in AME. Choose H.264 Blu-Ray if you have more than 2 hours videos.
    Bye
    Steph

  • Can I trim without doing ANY transcoding?

    I have video files in MOV and M4V which are H264. Those files play beautifully from a website but they are too long. I have QuickTime Player Pro 7.6.9 so I'm intending using it to edit them (by which I mean just trim them - no fiddling with anything else).
    These MOV and M4V files have already been transcoded. When I "Export" them from QTP the quality seems to degrade. I've read that transcoding more than once may degrade the video quality. It looks as if every option available to Export them from QTP involves more transcoding of some sort.
    Is there a way that I can edit (ie just trim) them in QTP but have it export the files exactly as they are now, without touching the coding at all?

    Currently the file sizes are large. I was hoping that trimming to the few minutes I want would reduce the file size.
    If you trim the clip properly before copying the trimmed portion to a new file container, only the desired content will be contained in the new MOV file making the file size smaller. How much smaller, of course, depends on how much of the clip you trim and remove.
    If I'm understanding you correctly, QTP will mark the In and Out points but when I use 'Save as.." it will leave the full file size intact (??) and still upload to the server the full 15 minutes worth of file (??) and visitors to the website who are using mobiles may view the full 15 minutes still???
    No. What I said was that if you "mark" the content you wish to keep and then use the "Trim to Selection" option to create a "timeline" only containing the segment of the file you wish to keep, the, when you use the "Save As..." command, only the trimmed content will be copied to the new MOV file.
    On the other hand, if you just mark the content without physically trimming it, then the entire movie will be copied to the new file along with the markers which only the QT Player, iTunes, etc. will then play correctly while apps like VLC will continue to play the whole file. In addition. If you use the "Save" command to keep the data in its original file container, then only the markers are saved and the file still contains all of the original data plus the newly added markers.
    I repeat, to create a "smaller" file with only the trimmed data in it, you must mark, trim, and write the desired data to a new MOV file container. Thereafter you simply replace the current online files with the new one(s) you've created. You can then decide whether or not you want to keep or delete the original file and simply keep the new file.

  • Compressor problem.  transcode failed

    Hi,
    I'm using Compressor to transcode H.264 footage from a Canon DSLR to apple prorez 422 LT.  Dragged in several clips to compressor, added settings and destination.  Hit submit.  Went to sleep. Came back in morning and transcode had FAILED.  Tried again with a very short clip.  No progress was made in "time remaining" window -- no time even came up, and the progress bar did not start turning blue at all.  Finally i cancelled the operation.
    What am I doing wrong?
    Thank you,
    Eve

    If you continue to get the 3X Crash error after following the advice you've got in this thread, my suggestion would be to download another one of Digital Rebellion's products – Pro Maintenance Tools. PMT has a Crash Analyzer that reports causes and recommendations. It's a paid app (suite of apps) but you can download a short trial.
    The error means that the Compressor Transcoder has failed (ya think?) and it's not one of the more obvious ones to sort. The one time I had it was fixed by uninstalling Perian; I must have read about a conflict somewhere,
    Russ

  • ProRes files act crazy and transcoding to Animation codec gets ugly

    So, allegedly, the Animation codec is lossless. However, when I take something encoded with Apple ProRes 422 HQ and transcode to Animation within the Quicktime Pro software, I see noticeable differences. Including: color change and increased aliasing.
    The same is true when attempting to export stills from ProRes, even in the highest, most lossless formats. I am wondering if ProRes for PC is actually not quite ready for prime time? When I import a ProRes file into After Effects, I notice the same quality drop associated with trying to transcode it to a lossless format. It seems as though ONLY QT Pro has the capability to display ProRes files properly. If this is the case, this is largely useless, since I can't then USE these ProRes files for anything. What the heck guys? I wouldn't have had clients deliver me ProRes encoded stuff if I knew that it didn't actually maintain its integrity.
    Please help out as soon as possible. Clients with deadlines are waiting on a solution that doesn't involve me spending 4000 grand on a new machine and FCP.

    As a test, try nesting the problem sequence in a new empty sequence then export that new sequence using QuickTime. Let us know whether or not that succeeds.
    Cheers
    Eddie
    PremiereProPedia   (RSS feed)
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  • Any way to transcode more than one file at a time?

    I've noticed that Final Cut Pro X, when doing transcoding (for Optimizing or creative Proxy media) only processes a single file at a time (whereas it can handle processing up to 5 audio files at once), and is only using about 70% of my processor(s) -- I have a dual core, Core i5 processor, 8GB of RAM, about 500MB used by FCPX during the processing.  So this thing should have PLENTY of processor and memory headroom to use, and it should certainly be able to transcode more than one file at a time.  Yet it isn't nearly taking full advantage of the processors, or the RAM.  Is there any solution to this problem?
    --Andy H.

    Try the 'add folder to library' option under file on the main menu.

  • Do I need to transcode .MTS (AVCHD) files before editing?

    I am quite new to all this, so forgive me if my question is unclear or just plain dumb.  I am shooting footage with a Panasonic GH2 which outputs clips as AVCHD. I understand that this is highly compressed.  I am perfectly able to edit these short clips (less than 1 min) in PP CS5 and export them as mp4 or .MOV files.  They seem to play back just fine in the Windows Media Player.  However, I am shooting footage destined for online stock companies and I am concerned that, without some form of decompression prior to editing, I will be degrading the footage too much. Is this the case? If so, what should I transcode to before importing to PP?  I am using Adobe Media Encoder as part of CS5 Production Premium.

    You are mixing a few things up.
    CS5.5 can edit AVCHD natively.
    What MPE can do for you read the link
    http://blogs.adobe.com/premiereprotraining/2011/02/cuda-mercury-playback-engine-and-adobe- premiere-pro.html
    function(){return A.apply(null,[this].concat($A(arguments)))}
    In another way, I guess it's not good news if I have to do any color/exposure correcting, etc inPrPro or After Effects, as I'll be degrading the footage further. Is that correct?
    Yes, but a certified card wont change that.

  • FCPX Project Render Settings - Can you edit in h.264 and Transcode/render only used clips on timeline to Prores during render?

    I have a question on the PROJECT RENDER settings in FCP X. It’s seems to me that one could theoretically import and edit entirely with original h.264 video files without needing to Transcode to ProRes422. Once you’re done with your edit and want to get the added benefits of COLOR GRADING in ProRes422 color space, it seems that FCPX will automatically render your edit in ProRes422 according to these preferences. In that case, a color grade could be applied to the whole edit, and be automatically transcoded/rendered into ProRes 422 during the render process. After rendering, what would show up on the viewer and what would EXPORT would be the rendered Prores files and not the original h.264 files. This saves a lot of time and space of transcoding ALL your media, and in theory should enable you to edit NATIVE video formats like h.264, with automatic benefits of ProRes during render.  I'm assuming the render may take longer because FCPX is having to convert h.264 video files to ProRes422 while rendering. This may be one drawback. But will you your color grade actually use the 4:2:0 color space of the h.264 native media, or will it utilize 4:2:2 color space, since the render files are set to render to ProRes422 ? Can anyone please confirm that this theory is correct and optimal for certain work flows?? Thanks!

    Thanks Wild. That's what I thought - in that the render files would be converted to ProRes422 codec. So do you or anyone else think that there is an advantage to having the 4:2:0 original file be processed in a 4:2:2 color space?
    Yes there is an advantage, any effects and grading will look better than in a 4:2:0 space.
    Most professionals online seem to think so. Also - will rendering of heavy effects and color grading take longer using this method because it's having to convert h.264 media to ProRes during render?
    Yes, it will definitely take longer.
    Can anyone verify from a technical standpoint whether editing and color grading in this workflow will see the same benefits as having transcoded the h.264 media to ProRes in the first place?
    Same benefits from a final product view point, you lose on rendering time though and if you have lots of effects things will seem slow as it will have render everytime from the h264 file rather than a Pro Res file for every change you make. This may be fine on a higher end mac but I'm sure just pummels an older lower end mac as to being almost useless.

  • How can I edit the audio in a QT file without having to transcode it first?

    I have some 320x256 QT files that feature some background noises that I want to edit out and dub over with some new audio. Is there an app that will let me do this while retaining the files at their native resolution?
    The only method I've found so far is to import them into iMovie, which transcodes them to 720x576 DV files from which I can extract the audio, edit and re-export at 320x256, but I'd really like to avoid the transcoding step.

    QuickTime Pro can "extract" the sound track. This will create a copy you can then "export" to a suitable sound editing format (.aiff).
    Edit the .aiff file using your sound editing software and then open the file with QT Pro and export to the original format used in the source movie. Add it "scaled" back into your original source movie and "delete" the older sound track. Use "Save As" and your file will complete.

  • Transcoding for a vertical display

    I've been assigned the task of transcoding 16:9 for a flatscreen that is to be turned on it's side.  To tackle this problem I've rotated the image to fit into the "portrait" format, and exported to ProRes.  Here's the kicker, the client has requested DVD's.  When I transcode from Compressor to the DVD format, I get terrible interlacing.
    I understand that when creating a DVD, De-interlacing is not necessary, however that coupled with the flat screen being on its side, I'm not really sure how to tackle this.   Is it because I've rotated the image that I'm getting this?     Any help is very much appreciated.
    With respect,
    Josh

    https://discussions.apple.com/message/22940201#22940201

  • Looks like a pulldown issue, duplicated frames are baked into transcoded files...

    Have a bit of a messy project atm...this started with a client call on my way back from a festival where I ran large format video screens as a VJ & camera switcher/editor (Sasquatch in NW USA) so I was tired from 5 solid days of work.  I dropped by their studio to examine an example clip…tired and thinking they had a good test case pulled up & ready to look at.
    Well, the first clip we analyzed ONLY had shutter speed issues.  Checking the source file/.mov it was apparent it was shot at a shutter speed closer to 1/1000 than 1/60, adding a bit of pixel motion blur in AE solved that...  In retrospect his export from FCP7 had the pulldown problems in the EXPORTED version of the clip, but we hadn't checked that (we watched the source clip play back and he sent the reference clip with me so I could match the edit).  So the issues that have been in almost all subsequent clips were not present in the initial analyzed file unfortunately!   When I got back to my workspace & the files were ingested it became obvious that there's a bad pulldown at work in most of the transcoded footage.  The client had mentioned it looking 'choppy' and rather than just being motion blur it was a case of duplicate frames.  Bad pulldown removal... 
    MOST of the footage as I have it is ProRes 4:2:2 LT 29.97p  with every 3rd frame duplicated (1 out of 3 duplicated rather than 1 out of 5).   The ProRes format didn't come from a digital recorder in this case, it was transcoded from the source media using a software tool to organize & collect the source media and compressor to transcode for editing.  Since these 2 episodes were left in the editing pile for months, the source files are obviously *no longer around*….
    In the past I've dealt with reverse pulldown issues from 24p & 24pA (where the frames are either interlaced or duplicated to achieve the pulldown) but these all give a 5 frame cadence.  Also when done correctly they don't destroy good frames and leave frame dupes.  What we have here seems more like improperly handled PsF (via HDMI or SD output from 1080p cameras) or pulldown incorrectly applied to 29.97 over 60i/59.94i, or...?   In any case these are destined for 60i broadcast, so simply interlacing them again to create the 3rd frame is out of the question, and frame blending isn't much better than the dupe frames.
    Removal of every 3rd frame which (since that = every 2nd frame) obviously gives a visual "jump" over the now removed dupe frame, and leaves footage has to be converted from 20p to 29.97 which looks horrible regardless of how its done (conformed or interpolated).    Removal of every 3rd frame from 29.97 is actually not too hard, as 2/3rds of the frames are still 'good' it's easy to
    apply a conform to the file headers bringing the rate down to 19.98p, bringing that into AE and creating a comp that's set to 'preserve frame rate when nested' under advanced, then putting that into a 29.97 comp..., that works relatively well but the missing frames STILL need to be replaced somehow...
    To make matters worse, some clips have a cadence that doesn't stay consistent (the repeated frames will 'jump' from every 3rd periodically), OR worse yet there are sometimes 4-6 duplicated frames in a row (???), and then other sequences have only occasional frames repeated (meaning they need to be identified manually by stepping frame by frame).  Some of this is potentially due to rounding errors in the pulldown, but there's got to be something more amiss as is evident by the other inconsistencies...very odd.
    In any case what do to about the 3rd frames that need to be 'repaired' or 'created'?  This is the crux of my issue, and software interpolation alone isn't going to cut it...  Since a simple pass on the entire clip(s) causes vast sections get time stretched (not just every 3rd frame synthesized but rather the whole thing interpolated), I tried going in and setting timestretch keyframes manually (so I could manually stretch the area where the 3rd frame needs to be 'created).  As the software applies motion techniques that obviously assumes the distance between frames in both directions is equal...well it just replaces 1 visual problem (dupe frames) with another (visual distortions).   This has been the case with ALL the software tried so far...
    I've tried AE's native higher quality mode (rather than just frame blending, which will look awful.  Twixtor (demo) in AE, Smoke (autodesk), DaVinci Resolve (Light version but I have access to the GPU accellerated version as well) &  Apple's Motion.  All do a horrible job (FootageFIxing directory examples in dropbox) of handling this automatically, which I expected.  However I had originally intended to simply 'replace' every duplicated frame using the interpolated footage, this resulted in WORSE matching to surrounding frames due to the poor interpolation not matching up well on many frames than frame blending, not better (portions of the frame 'jump' out of alignment with both the previous & following frames, after analysis it acts like a spine with a midpoint that is not parallel to a line drawn between the start & end points).
    So dropping 29.97 to 20p then synthesizing every 3rd frame (until cadence jumps) is where I'm at.  Once done synthesized frames have to be checked and a huge % of them (when there's motion on a person in the scene or camera pans etc) have elements…or whole frames…that are incorrectly synthesized.  So pieces of surrounding frames have to be roto'd & composited into selective areas to 'patch' the portions that get 'squashed', 'stretched' or 'rippled' into position (VERY VERY noticeable).
    Lastly, due to a variety of shutter speeds used the motion blur across frames is also an issue, so once a shot has been correctly re-synthesized for the missing frames it must be evaluated for whether motion blur is required, which brings us back to the rendering process that was assumed at the start of this (in other words final output of each clip may need motion blur in post before delivery).
    At this point I'm left with doing the synthesis of the 3rd frame and 'repairing' the areas of that which distort too heavily, or duplicate (some of the camera pans are done to track high speed motion, birds flying through frame etc)...
    Anyone have any interesting techniques I could try, beyond telling the studio I'm working with that they're hosed (that discussion is coming but I'm going to show best efforts and the timeframe required to achieve that across all shots/edits)....

    Oh and the easier way to removing the dupe frames was just to drop it to 19.984, set (nested) comp advanced settings to 'preserve framerate when nested' and watch for the occasional rounding error when back in a 29.97 container composition.  It would be nice to be able to specify 29.976...
    In any case the missing frame needs to be replaced, not removed.  The visual jump i that gap actually looks to be closer to 2 frames when motion of objects is estimated by hand.
    Also (as I think I mentioned) other clips seem to have even further oddities.
    The reality is that I can actually create smoother motion by doing a lot of hand massaging of the footage (scaling previous frames in simple pans, hand-rotoscoping/masking/compositing in sections of frames around missing ones to synthesize motion in onscreen talent & background objects, things tracked across the screen by the camera and so on.
    But that's a heck of a lot of work and probably beyond what's achievable at present I suspect...

  • Error message when downloading Photoshop element 12 : Arvato Berthelman - Erreur de l'Assistant de téléchargement - Malheureusement, il y a un problème avec le lien vers ce fichier. Ce problème peut être dû au nombre d'utilisateurs en train de télécharger

    Error message when downloading Photoshop element 12 : (I have bought the licence in a shop)
    Arvato Berthelman -
    Erreur de l'Assistant de téléchargement -
    Malheureusement, il y a un problème avec le lien vers ce fichier. Ce problème peut être dû au nombre d'utilisateurs en train de télécharger le fichier, ou le produit peut ne plus être disponible. Veuillez réessayer dans quelques minutes. Si ce lien n'est toujours pas disponible, veuillez contacter le service clientèle à l'adresse [email protected] ou au numéro 604-915-5200.
    ==> BOTH @ and phone number are wrong !!

    Hi Mireille56,
    From where are you trying to download the software.
    [email protected] is not an Adobe Support email.
    Please try downloading Photoshop Elements 12 from : http://www.adobe.com/cfusion/tdrc/index.cfm?product=photoshop_elements&loc=us&sdid=ZPQM
    Regards,
    Rave
    < Translated via Google >
    Salut Mireille56,
    D'où que vous essayez de télécharger le logiciel.
    [email protected] n'est pas un e-mail de support d'Adobe.
    S'il vous plaît essayez de télécharger Photoshop Elements 12 à partir de: http://www.adobe.com/cfusion/tdrc/index.cfm?product=photoshop_elements&loc=us&sdid=ZPQM
    Cordialement,
    Rave

  • FCPX: How to import, transcode and keep an Event on an external drive

    I was given 300 GB of media files, mostly Quicktime movies, on a read-only NTFS format Lacie drive. I tried importing into FCPX, checked the optimized and proxy transcoding options as well as import folders as Keyword Collections option, and it took hours for less than 1/3 of the media to render, then I got a warning that my startup disc was almost full.
    I assume the best thing to do is start over, and move my files to another read-and-write drive so that I can keep the transcoded files off my Mac.
    But my main question concerns the FCPX Events folder:
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    Also, should I not bother transcoding, or just select one of the options (which one, and why?) I’m editing a 12-15 minute narrative film – mostly cuts, probably no effects, but will color correct and add titles and sound fx/music.
    Any insight for this process, as well as practical advice, would be greatly appreciated, as I’m trying to fully understand and start off the right way before I dive into this edit. Thanks in advance! 

    I would create a new Event in FCPX first so that I can choose which drive those files are going to end up on.
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    In my experience, Optimized files can get fairly large I'm not sure of the percentage) and Proxy files have ended up about 1/2 the size of the originals.  If you are creating Optimized files, Proxy files, AND copying the original media...you have three versions of the files and that 300GB may end up being about 1TB that FCPX is creating.
    If you want to work primarily with proxies, I would NOT copy the original file, but I would have FCPX create the proxies in the Event folder on your hard drive.  If you just gotta have Optimized files for your final output...I would wait until you are ready for output to create those.  If you only have the Proxy files on your laptop, with the original files on their original drive, then it should only take up 150-200GB on your laptop hard drive.  At that point, you can leave FCPX in proxy mode (got to FCXP>Preferences>Playback>Use proxy files
    If you detach the external hard drive, the original files will show up as missing, but proxy mode should recognize the Proxy files in the Event folder.
    If you still want to create Optimized files, Proxy files and copy the Original Media, get a separate external drive that will have the room you need and one you can edit from.
    For large projects where I have a lot of footage, I edit and add effects in Proxy mode and then switch to Original/Optimized>Highest Quality for final color grading, rendering and exporting.
    Hope that helps!  al the best!

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