How can we improve Premiere Pro?

← Premiere Pro

Proxy workflow - interpret footage

Please make the "interpret footage" feature pass down from hi-res native footage to attached proxies. For example, if native camera footage is interpreted from 60fps down to 23.976fps, then the 60fps Premiere-generated proxies should be interpreted that way as well.

166 votes

We're glad you're here

Please sign in to leave feedback
Signed in as (Sign out)
Close
Close

We’ll send you updates on this idea

Samuel Neff shared this idea  ·   ·  Flag idea as inappropriate…  ·  Admin →

42 comments

We're glad you're here

Please sign in to leave feedback
Signed in as (Sign out)
Close
Close
Submitting...
An error occurred while saving the comment
  • Diego Torroija commented  ·   ·  Flag as inappropriate

    You really owe us this basic functionality cmon man!!!

    this is a super frustrating problem when you have 1000 clips for example vey slowwwwwww.
    this should be so easy for someone to code!!! and what a pain in the but for all of us

  • Caleb McLaughlin commented  ·   ·  Flag as inappropriate

    I'm surprised this isn't fixed yet. Yes, there is a workaround, but it certainly doesn't help if you recorded proxies in-camera.

  • Chris Bretz commented  ·   ·  Flag as inappropriate

    Why is this still an issue 2 years later? Please fix Adobe! It's a basic Professional feature that needs to work.

  • Russ Clapham commented  ·   ·  Flag as inappropriate

    Agreed. Ive just found out that the slo mo shots I interpreted from camera speed 50 to 25fps have been replaced with incorrect footage when Ive exported it.. very embarrassing. Work around for me is to delete the proxy files and only use the full res. You can't even make a proxy from an interpreted shot - it failed on media encoder and I had to restart the queue in the morning,, v frustrating..

  • TB54 commented  ·   ·  Flag as inappropriate

    This is turning me mad and making me very late for my edit right now - and even if you can match the framerate threw the Media Encoder trick, audio won't follow, so it's still useless.

    That's exhausting and making edit of projects full of archive nearly impossible, please fix this.

    EDIT: for those who have this problem but must use proxies anyway, here is a (pain-in-the...) solution: create your proxies manually. That means:
    1) Go in Media encoder, import your video files, and create "proxies" by converting them into a lame codec (like ProRes Proxy for instance), while keeping the SAME RESOLUTION and audio tracks distribution (2.0 / 5.1) than the original files (very important).
    2) Put the converted files in another folder.
    3) Then, in your project, relink all your files to those proxies. At the end, when you must export, relink your elements to your original video files. Complicated, but it works, and allows you to interpret footage as you want.

  • Jonny Havens commented  ·   ·  Flag as inappropriate

    The workaround works but it's a silly extra step. I hope Adobe isn't just letting this go because there's a workaround their users have figured out.

  • Anders Teigen commented  ·   ·  Flag as inappropriate

    An important issue. There is a workaround to halt the AME proxy creation, and change the interpret footage in AME as well. However, I experience that even if image of master and proxy clip now plays correctly when toggling proxies, the audio falls out of sync for the proxies. Checking the proxy file, it seems to be nothing wrong, so there is some confusion in Premiere how to handle the proxy files of interpreted footage.

  • Scott Pessoni commented  ·   ·  Flag as inappropriate

    This is still an issue and definitely needs to be addressed. The expected behavior is for this to work properly and stay in sync with the original footage. After all a proxy is a low resolution stand in for the original. It was a surprise to our remote editors who now rely on proxies. The returned edit was all out of sync without warning.

    I'm very concerned this goes all the way back to 2018. I know tons of people use this feature to edit DJI h.265 4k footage (which is tough on the system) and interpret the higher speed footage lower. Same with Sony A7M3, ect...

← Previous 1 3

Premiere Pro: Editing

Categories

Feedback and Knowledge Base

(thinking…)