ProRes vs DNxHR vs H.264 for editing proxies
How the three proxy codecs compare on size, speed and NLE support, and which one to pick for your editor.
Every proxy workflow starts with one question: which codec. The three real options are H.264, ProRes Proxy and DNxHR LB. They all look the same for offline editing, so the choice comes down to file size, which app reads them natively, and your platform.
The short answer
Pick H.264 for Adobe Premiere Pro and the smallest files, ProRes Proxy for Final Cut Pro and DaVinci Resolve, and DNxHR LB for Avid Media Composer. If you move a project between several editors, ProRes Proxy is the most portable choice.
Side by side
| Codec | Size vs 4K original | Container | Native NLE | Platform |
|---|---|---|---|---|
| H.264 720p | about 3 to 5 percent | .mp4 | Premiere Pro | Windows, Mac, Linux |
| ProRes Proxy 720p | about 6 to 8 percent | .mov | Final Cut Pro, DaVinci Resolve, Premiere | Mac native, Windows via encoder |
| DNxHR LB 720p | about 5 to 7 percent | .mxf | Avid Media Composer | Windows, Mac |
H.264: smallest and universal
H.264 makes the lightest proxies and every machine decodes it in hardware, so playback is smooth even on an older laptop. The trade off is that it is a long GOP codec, which means scrubbing frame by frame can feel slightly less snappy than an intra frame codec like ProRes or DNxHR. For most Premiere Pro timelines that difference is invisible, and the small file size wins.
ProRes Proxy: the Apple and Resolve standard
ProRes Proxy is an intra frame codec, so every frame is complete and scrubbing stays instant. It is native to Final Cut Pro and reads cleanly in DaVinci Resolve and Premiere Pro. On Mac it decodes in hardware. Files are a little larger than H.264, which is the price of that frame accurate response. If you bounce one project across several editors, ProRes Proxy is the safest common ground.
DNxHR LB: made for Avid
DNxHR is Avid's codec family, and LB (Low Bandwidth) is its proxy tier. It is also an intra frame codec, wrapped in MXF for Avid Media Composer to detect through its media database. Outside Avid you rarely need it, but inside Avid it is the right and expected choice.
Which one for your editor
- Premiere Pro: H.264 720p for the smallest files, or ProRes Proxy if you also open the project elsewhere.
- Final Cut Pro: ProRes Proxy, the native Apple choice.
- DaVinci Resolve: ProRes Proxy for frame accurate scrubbing.
- Avid Media Composer: DNxHR LB in MXF.
- Moving between several NLEs: ProRes Proxy, the most portable of the three.
Resolution and bitrate matter too
The codec is only half the decision. Resolution changes the file size more than the codec name does. A 720p proxy is the usual default for laptop editing. Move to 1080p only when the offline cut needs rough color or fine detail, and expect the file to roughly double.
Skip the choice with presets
If you would rather not weigh codecs for every project, Sanbila ships seven proxy presets covering all three families: H.264 in 540p, 720p and 1080p, ProRes Proxy in 720p and 1080p, and DNxHR LB in 720p and 1080p. Proxies are generated on Sanbila's cloud rather than your CPU, and the Premiere Pro plugin attaches each one to its 4K original so export needs no relink.
Seven proxy presets across H.264, ProRes and DNxHR, generated on the cloud and attached automatically.
Try Sanbila freeFAQ
Which proxy codec is the smallest?
H.264 produces the smallest proxy files, typically 3 to 5 percent of a 4K original at 720p. ProRes Proxy and DNxHR LB are a little larger because they are intra frame codecs that store every frame in full.
Is ProRes Proxy better than DNxHR?
Neither is better in absolute terms. ProRes Proxy is native to Final Cut Pro and reads well in DaVinci Resolve and Premiere, while DNxHR LB is the right choice inside Avid Media Composer. Pick the one your editor reads natively.
Can I use H.264 proxies in Avid Media Composer?
Avid works best with DNxHR wrapped in MXF, which its media database detects automatically. H.264 in an MP4 is not the expected Avid proxy format, so DNxHR LB is the safer choice there.
Do proxy codecs affect the final export quality?
No. A proxy is preview only. The editor relinks to the full resolution original at export, so the codec you chose for the proxy has no effect on the quality of the master.
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