Yes, when you want the fastest possible editing workflow even with 4K/6K/8K media, the winning formula is:
Create lightweight proxy files
Use Selects to auto-assemble and generate your stringouts
Handoff the assembly to your NLE
Replace proxies with original camera files for finishing
Below is the complete workflow, organized by NLE for clarity.
Adobe Premiere Pro Workflow
1. Create Proxy Files
On Import
Open the Import window.
Enable Create Proxies.
Choose a preset (H.264 or ProRes Proxy).
Import → Media Encoder generates proxies automatically.
After Import
Select clips in the Project panel.
Right-click → Proxy → Create Proxies.
Choose your preset and destination.
Premiere will attach proxies to your clips and maintain mapping via filename & metadata.
2. Bring Your Proxies Into Selects
Open Selects.
Go to Import Footage.
Choose your proxy folder (not the originals).
Selects analyzes the media and generates:
Shot detection
Auto stringouts
Automatic selects
Scene grouping
3. Handoff Back to Premiere
Selects creates a Premiere Pro Project File (.prproj)
Choose Handoff → Premiere Pro
Open it directly in Premiere Pro.
The timeline you see inside Premiere is entirely based on your proxy media.
4. Relink Proxies to Original Camera Files
Once your selects assemblies are inside Premiere:
Select all clips in the Project panel or Timeline.
Right-click → Link Media.
Navigate to your original master footage folder.
Premiere auto-matches the clips using filenames/timecode.
Now your edit references full-quality originals — ready for grading, FX, and export.
Final Cut Pro Workflow
1. Create Proxy Files
On Import
Import window → enable Transcode → Create Proxy Media.
Choose ProRes Proxy or H.264 proxies.
After Import
Select clips in Browser.
File → Transcode Media.
Check Create Proxy Media → OK.
2. Bring Your Proxies Into Selects
Open Selects → Import Footage.
Choose the proxy folder you created from Final Cut.
Let Selects analyze the proxies and build:
Auto stringouts
Shot groups
Highlight reels
Smart scene collections
3. Handoff Back to Final Cut Pro
Selects exports an FCPXML, which Final Cut reads natively.
Choose Export → FCPXML.
Open the FCPXML in Final Cut Pro.
The timeline imports referencing your proxy files.
4. Relink Proxies to Original Camera Files
Select all clips in Browser or Timeline.
File → Relink Files → Original Media.
Choose the folder with your original camera files.
Final Cut will auto-match based on filename, metadata, or timecode.
You’re now editing with native-quality originals.
DaVinci Resolve Workflow
1. Create Proxy Files
Option A: Optimized Media
Project Settings → Master Settings.
Set Optimized Media Format (ProRes Proxy / DNxHR).
Media Pool → Right-click clips → Generate Optimized Media.
Option B: Proxy Media
Media Pool → Select clips.
Right-click → Generate Proxy Media.
Choose codec + directory.
2. Bring Your Proxies Into Selects
Open Selects → Import Footage.
Choose the proxy folder generated by Resolve.
Selects builds your auto-assemblies using the lightweight media.
3. Handoff Back to Resolve
Selects outputs a Resolve-compatible XML timeline.
Export → Resolve XML.
In Resolve: File → Import Timeline → Import AAF/EDL/XML.
Resolve imports a proxy-based timeline.
4. Relink Proxies to Original Media (Final Conform)
Highlight all clips in the Media Pool.
Right-click → Relink Selected Clips.
Choose the folder with original camera files.
Resolve updates the timeline to reference full-quality sources.
If using Optimized Media, disable it for finishing:
Playback → Use Optimized Media (off)