Reference Glossary
Video proxy workflow
A video proxy workflow generates smaller, lower-resolution stand-in copies of high-resolution or raw camera files for editing and review, while the originals stay linked for final conform and delivery.
Why it matters in a DAM
For a DAM, proxy generation is what makes large-format footage — raw camera files, 4K+ masters — actually usable day to day: reviewers can stream a proxy over a slow connection or on a phone, and editors can cut on modest hardware without staging terabytes of raw media locally. The DAM's job in this workflow is to keep the proxy-to-original link intact through every rename, move, or export, because a proxy that's been disconnected from its master is just a low-resolution dead end that can't be conformed for delivery.
A worked example
Common mistake
A common mistake is letting proxies and originals drift apart in the DAM's folder or naming structure — renaming or relocating one without the other — so the automatic relink at conform silently fails and either delays delivery or, worse, someone finishes and delivers off proxy-quality media without noticing.
A video proxy workflow exists to solve a storage and bandwidth problem: raw and high-resolution camera files are too large to edit, stream, or review comfortably in their native form, so a DAM or editing system generates a lighter substitute — typically at reduced resolution and a more efficient, editing-friendly codec — while keeping the original master untouched and linked. Apple ProRes 422 Proxy is a common choice for this, targeting roughly 45 Mbps at 1920×1080 and 29.97 fps; Avid’s DNxHR LB fills the same low-bitrate role in DNx-based pipelines, at roughly 36 Mbps at 1080p — both are a small fraction of the data rate of camera-raw formats like ARRIRAW or RED R3D.
- Camera or high-resolution master is ingested into the DAM
- A lightweight proxy (e.g. ProRes 422 Proxy, or a comparable low-bitrate codec such as Avid DNxHR LB) is generated automatically at ingest
- Editing, review, and DAM browser streaming all happen against the proxy
- At final export or conform, the editing system relinks to the original master by filename, reel/clip metadata, or DAM asset ID
- Delivery is rendered from the original master, never from the proxy
The workflow only holds together if the link between proxy and original survives everything that happens to the asset afterward — renaming, moving between storage tiers, being exported into a new project. Editing and reviewing happen entirely against the proxy; at the point of final export or conform, the editing system relinks to the original full-resolution master and renders delivery from that, so the proxy’s quality never appears in a finished deliverable as long as the relink succeeds. That relink typically depends on matching filenames, reel/clip metadata, or a DAM-managed asset ID — any of which can break if proxies and originals are handled inconsistently.
For a DAM specifically, proxy generation is usually automated on ingest, which means the system is making a resolution/codec tradeoff on every asset without a human reviewing it. Proxies also serve a second purpose beyond editing: they’re what powers in-browser preview and search-result thumbnails for footage a DAM user will never download the master of, which is why proxy quality settings matter for everyday usability even on assets nobody plans to edit.
Frequently asked
Why not just edit the original high-resolution or raw files directly?
Raw and high-resolution camera formats have data rates far beyond what most editing hardware and network storage can play back smoothly, especially with multiple layers or multicam angles. Proxies trade resolution for a codec and file size that timelines can scrub and play in real time.
Does using a proxy workflow reduce the quality of the final delivered video?
No, as long as the relink to the original master succeeds at export. Editing decisions (cuts, effects, color) are applied to the proxy during the cut, then re-applied to the full-resolution original at conform — the proxy's lower quality never reaches the final render.
What happens if a proxy gets separated from its original master in the DAM?
The relink at conform or export fails or matches the wrong file, which either blocks delivery until someone manually re-links the assets or, in the worst case, lets someone unknowingly deliver proxy-quality media because the system quietly fell back to it.
Do all DAM systems generate proxies automatically on ingest?
Most professional video-capable DAM platforms do, specifically to support browser preview and streaming without requiring every viewer to download the full master. The proxy codec, resolution, and bitrate settings are usually configurable per organization.
Is a proxy the same thing as a thumbnail or preview image?
No — a thumbnail is a single static frame; a proxy is a full, playable video file at reduced resolution/bitrate that can be scrubbed, edited, and cut on a timeline. A DAM typically generates both from the same original for different purposes.
Can proxy resolution be set differently for different types of footage?
Yes, and it often should be — proxy generation tools commonly support a range from roughly 12.5% to 100% of original resolution, so a DAM can generate lighter proxies for footage used mainly for quick review and higher-fidelity proxies for footage headed into fine-cut editing.
Sources
- Apple ProRes 422 Proxy targets a data rate of approximately 45 Mbps at 1920×1080 and 29.97 fps. checked 2026-08-07 — Apple Support — About Apple ProRes
- Proxy media can be generated at a range of frame sizes, from roughly 12.5 percent to 100 percent of the original. checked 2026-08-07 — Apple Support — Final Cut Pro proxy files
- Avid DNxHR LB (Low Bandwidth) is the low-bitrate tier of the DNxHR codec family, targeting roughly 36 Mbps at 1080p, used for proxy/offline editing in Avid Media Composer. checked 2026-08-07 — Sanbila, "DNxHR LB: the Avid Media Composer proxy codec"