How does Paul Rogers's method for editing 4k projects with Sony A7RV outperform traditional workflows?

When I’m editing big 4K projects from the Sony A7RV, my “god-tier” workflow is all about keeping things fast and smooth instead of letting the timeline choke.

Here’s how it beats a typical, clunky workflow:

1. I build the project around optimized media/proxies so playback stays real-time, even with color and effects
2. I separate fast assembly edits from heavy grading, so I’m never overloading the system too early
3. My storage is set up so footage, cache, and exports are on different drives, reducing bottlenecks
4. I use a consistent folder and naming structure so I can find any shot in seconds

Want me to break down the exact step‑by‑step setup I’d use for a 4K A7RV project in Premiere or Final Cut?