You can send WedCat original camera footage, proxies, or an existing Premiere Pro project. The right handoff depends on your upload capacity, current workflow, and who will handle the final color work and export.

You do not need to rebuild your folder system or select every usable shot before sending a project. We agree on the practical details first. Preparation and ordinary shot selection needed for your agreed film are part of the editing process.

Option 1: Send the original footage

This is a useful choice when you want us to handle the agreed edit and final delivery from the source media. Share the camera footage, separate audio, music and other required assets, together with your brief and references.

“Original footage” does not necessarily mean RAW: send the original files in the format recorded by your cameras. Keep your own backup, and preserve any camera folder structure needed to read the media correctly.

Use your preferred file-sharing service and provide download access. If your existing organization is workable, there is no reason to spend hours rebuilding it just for us.

Option 2: Use a proxy handoff

Proxies are lighter copies used for editing. They can reduce transfer size, but the approved film still needs a finishing workflow with the appropriate source media.

Before creating a large batch, agree on the preset and test a small sample. Check the relationship between originals and proxies, timing, framing, and audio channels. Different recording formats or slow-motion workflows may need separate consideration.

For Premiere’s linked-proxy workflow, attach proxies to their corresponding source clips rather than treating them as unrelated files. Include a suitable project and the separate audio and other assets required for the edit.

Agree who will reconnect the originals, complete the color and sound work, and export. If only proxies are shared, do not assume that the editor can produce a full-quality master without access to the originals.

Keep duplicate filenames distinguishable

Several cameras or cards may contain clips with the same filename. That does not mean you must rename every original file. Preserve separate camera or card folders and a clear relationship between the project, originals, and proxies.

For example, Camera A/Card 1 and Camera B/Card 1 can contain different clips called C0001.MP4. The project must point to the correct one. Do not flatten those folders into a single folder or rename already-linked media without a plan.

When reconnecting, check the selected matches instead of assuming that every automatic match is correct. Test representative clips before relying on the workflow for an entire wedding.

Option 3: Send an existing Premiere Pro project

If you already have a project, send the project file and the media it references. Tell us which sequences to use and which preparation or creative work you want to keep.

Agree on Premiere compatibility and list dependencies such as third-party plugins, fonts, LUTs, graphics, and music. A project file alone does not contain all of those assets. Where necessary, discuss an alternative to a dependency the receiving system cannot use.

A simple handoff checklist

This is a checklist, not a mandatory folder template. Share what you already have and we can clarify the remaining details.

Final delivery and storage

Premiere Pro project files are included upon delivery. Source footage and working media are normally removed from our active storage two weeks after project approval; we retain the Premiere Pro project file. Keep your own media backup, as later changes may require you to send the originals again.

Discuss your handoff before uploading a large project. For technical reference, see Adobe’s proxy workflow guide, attaching proxies, and reconnecting originals.