Offline / Online

ffline and online describe the traditional split between creative picture editing on lighter proxy media and the later finishing stage that reconnects the approved cut to full-quality source for color, VFX, titles, and delivery. The distinction matters because editorial decisions are often made in one material context and finalized in another. The online stage is also where final technical quality control is performed, including color grading and ensuring the signal is 'broadcast safe' by adhering to legal luma and chroma limits, a process verified with tools like waveform monitors and vectorscopes. The online phase is also where the final color correction and grading occurs, using tools like waveform monitors and vectorscopes to ensure the image is aesthetically pleasing and technically compliant ('broadcast safe') for delivery. This workflow allows for smoother, more responsive editing on less powerful hardware by using smaller proxy files. The final 'online' stage involves relinking the edit decisions back to the original high-quality camera files during the conform process for final color grading and export. This workflow is predicated on the different performance characteristics of various codecs; editing-friendly intra-frame codecs (like ProRes) are used for the offline cut, while highly efficient inter-frame codecs (like H.264) are used for the final online delivery. This workflow heavily relies on the accurate transfer of metadata, such as using timeline clip notes to carry VFX shot IDs from the offline creative edit to the online conformity and effects stage. The offline phase begins with the assistant editor transcoding high-resolution original camera files into lower-resolution, edit-friendly proxy files. This preparatory work is essential for a smooth and responsive editing experience.