When you proxy a video file, in which codec hitfilm is transcoding ? High resolution, 32 bits ?
Hitfilm's proxies are a custom, proprietary codec with a lossless compression. Beyond that, I can't say. Bit-depth is probably determined by project setting.
I'll tag @DannyDev this time, but I doubt a dev will say anything more.
Do you think it's better to transcode to cineform 32 bits before adding files in hitfilm ?
Pro or Express? Honestly, what's the source footage from? Cineform 32bbc is a total waste if the source footage is some 8-bjt mp4.
I Use mp4 (8 bits) files.
Do you think it's better to use Hitfilm Proxy 16 bits, or transcode to Cineform 16 bits before ?
Cineform is never 32-bit or 16-bit. It is only ever 10-bit 422 or 12-bit RGB.
Hitfilm proxies are generally not good for improving edit performance of media files. This is because they are lossless and thus very very large files. They do decode fast but they have a very high I/O burden due to their very high effective bitrate. It is unfortunate that FxHome chose to use the term "proxy" given how that term is normally used in the video industry.
You best bet for timeline edit performance is to use Cineform.
To build from what @NormanPCN writes You could use Cineform 10-bit if you wanted. But you're starting with an 8-bit file. The conversion won't magically give you a full 10-bits of color information. You'll just be wasting data. Maybe a 10-bit encode might preserve minor details that would be lost, but I doubt it.
12-bit is total overkill.
8-bit Cineform medium is my recommendation.
Norman--hear, hear! Hitfilm proxies are really prerenders.
If you transcode 8 bit video to 10 bits, when you are color grading, i think result is better. Am i wrong ?
Not quite. The advantage is in editing in a higher bit color space since the additional bits help in internal processing.
Notice the Wolfcrow writer started with an 8-bit image and changed the internal color space of After Effects. In Hitfilm Express access to 16-bit editing is part of several add-ons (you can download a reference sheet of add-ons here: https://fxhome.com/forum/discussion/46921/hitfilm-express-and-add-ons-v8-vs-hitfilm-pro-v8-updated-may-16-2018#latest )
Editing in a 16-bit color space can help maintain smooth gradients, glows and improve blend modes. However transcoding 8-bit footage to 10-bit does basically nothing.
If you're in Express without an add-on for 16-bit color your "10-bit" file is immediately downsampled to 8-bit color. That's a total waste of data.
I have the pro version. So the best is to set renderieng in 16 bits float. Linear or not ?
whant is bcc ? Bits by channel ? I understand what is an 8 bits image ;-)
Thanks for your quick responses. I love Hitfilm.
Correct, bcc= Bits per Color Channel.
If working in Hitfilm Pro 16-bit linear is arguably the best mode to work in. There's nice high quality color space in 16-bit without getting too sluggish. You CAN work in 32-bit as well, but I think 16-bit is a good middle ground. You can always toggle back to 32-bit for the final render.
(Again, noting that the 16 or 32 bit color space is internal. If rendering out to mp4 for youtube upload (for example) you're going back to an 8-bit final render... But the higher bitrate workspace will result in fewer "rounding errors" when downsampling for the mp4 render. For best quality renders, Cineform of PC is the best bet and feel free to crank the bit depth (8/10/12 bits) as high as you want.
To clarify, yes the proxy/pre render format is a propriety lossless high performance format developed for HF.
Cineform is an excellent format but we had no support for it back when proxies/pre renders were developed.